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^AEm rfiOM THE BOOM.
CYCLOPEDIA OF
Music and Musicians
Volume III
NAAMAN— ZWILLINGSBRUDER
CYCLOPEDIA OF
MUSIC AND MUSICIANS^
EDITED BY
JOHN DENISON CHAMPLIN, JR.
CRITICAL EDITOR
WILLIAM FOSTER APTHORP
IVITH MORE THAN ONE THOUSAND ILLUSTRATIONS
VOLUME
NEW YORK
CHARLES SCRIBNER'S SONS
M DCCC XC
THE NEW YORK
PUBLIC LIBRARY
A«TM, LENOX AND
TIU)EN FOUNDATIONS
" 1816 L
Copyright, i8go, by
Charles Scrib tier's Sons.
^^ <^ ^ / f (^ K.
- 7^-^, 3 — C
LIST OF ILLUSTRATIONS
FULL-PAGE PORTRAITS
I. JEAN PHILIPPE RAMEAU
From the engraving by Benoist,
To Face -'
Page
?2
GIOACCHINO ANTONIO ROSSINI
From the lithograph by August Lemoiiie,
80
3-
ANTON GREGOR RUBINSTEIN
From a photograph, Briissets,
128
4- CAMILLE SAINT-SAENS
From a photograph, Paris, '/
5- ALESSANDRO SCARLATTI
From a tithograph, after the painting by Solimena,
J 76
J5> ,) >
6. FRANZ SCHUBERT '^"J-"
Page
From the engraving by Passini, after the painting by Rieder, . , 272
7- ROBERT SCHUMANN
From the lithograph by Giistav Feckert, ^20
8. LOUIS SPOHR
From the lithograph by C. Koch, . . ^(55
9- GASPARO SPONTINI
From the efigraviiig by Friedrich iVilhelm Bollinger, . . . . 416
10. GIUSEPPE VERDI
From a photograph, Milan, ^64
II- RICHARD WAGNER
From a photograph, Munich, .... x. ... . ^12
I?:..;..... KARL MARIA VON WEBER
From the ehgra6ivgbp\,iVoolnoth, after the painting by Carl P^ogel, . 560
PORTRAITS OF MUSICIANS.
DRAWN BY VALl^BIEN GKIBAViDOFP.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14
15.
IG.
17.
18.
19.
20.
21.
1-1
23.
24.
25.
26.
27.
28.
29.
30.
31.
PAGE
Nanini, Giovanni Maria 5
Niipravnik, Eduard 6
Nardini, Pietro 6
Nares, James 7
Naumann, Emil 8
Naumann, Johann Gottlieb 9
Naylor, John 10
Nessler, Victor Ernst 12
Neuendorff, Adolpli 13
Neukomm, Sigismund von 14
Neusiedler, Melchior 15
Nicode, Jean Louis IG
Nicolai, Otto IG
Notker, Balbulus, facsimile 25
Novello, Vincent 2G
Oakeley, Herbert Stanley 30
Oakey, George 31
Obertbiir, Karl 33
Offenbach, Jacques 37
Osborne, George Alexander 52
Otto, Julius 56
Ouseley, Frederick Arthur Gore . . 57
Paer, Ferdinando 62
Paganini, Niceoli") 64
Paine, John Knowles 66
Paisiello, Giovanni 68
Paix, Jakob 70
Paladilhe, tlmWe 70
Palestrina, Giovanni Pierluigi da. 71
Palestrina, Giovanni Pierluigi da,
facsimile 72
Paminger, Leonbardt 76
32. Parker, Henry 83
33. Parker, Horatio William 83
34. Parker, James Cutler Dunn 84
35. Parker, Louis Najjoleon 84
36. Parry, Joseph 86
37. Pattison, John Nelson 96
38. Pauer, Ernst 96
39. Peace, Albert Lister 100
40. Pearce, Stephen Austen 100
41. Pease, Alfred Humphreys 101
42. Penfiekl, Smith Newell 103
43. Pejjusch, Johann Christoph 104
44. Perabo, Ernst 105
45. Pergolesi, Giovanni Battista 106
46. Pessard, iSmile Louis Fortune... 113
47. Petrella, Errico 115
48. Philidor, Francois Andre Danican-. 118
49. Philp, Elizabeth 121
50. Piatti, Alfredo 122
51. Picciuni, Nicola 123
52. Pierson, Henry Hugo 127
53. Piusuti, Giro 129
54. Plautade, Charles Henri 134
55. Pleyel, Ignaz Josef 135
56. Ponchielli, Amilcare 140
57. Popper, David 141
58. Porpora, Niccolo Antonio 142
59. Porta, Giovanni 145
60. Potter, Cipriani 147
61. Prati, Alessio 149
62. Priltorius, Michael 150
63. Pratt, Silas Gamaliel 150
64. Proch, Heiurich 155
65. Prout, Ebenezer 159
66. Prudent, Emile 159
FOETEAITS OF MUSICIANS
PAGE
67. Pugnaui, Gaetano 1G3
68. Purcell, Heuiy IGi
69. Quantz, Johanu Joachim 170
70. Raff, Joachim 17-4
71. Rameau, Jean Philippe 178
72. RanJegger, Alberto 181
73. Rajjj^oldi, Eduaixl 183
71. Rauzziui, Veiianzio 185
75. Reber, Napoleou Hemi 188
76. Rebliug, Gustav 188
77. Reeve, "William ISO
78. Reichardt, Johauu Friedricli .... 192
79. Reiuecke, Karl 191
80. Reinkeu, Johauu Adam 197
81. Reiuthaler, Karl 197
82. Reissiger, Karl Gottlieb 198
83. Remenyi, Eduard 200
84. Re3-er, Louis fitienne Ernest. . . . 208
85. Rheiuberger, Joseph 209
86. Ricci, Federigo 214
87. Ricci, Luigi 211
88. Richards, Briuley 216
89. Richardsou, Joseph 217
90. Richter, Ernst Friedricli Eduard. 217
91. Riedel, Karl 218
92. Ries, Ferdinand 221
93. Ries, Franz 222
94. Rietz, Julius 223
95. Rimski - Korsakoff, Nicolai An-
dreyevitch 226
96. Ritter, Frederic Louis 232
97. Roberts, John Varley 236
98. Rochlitz, Johanu Friedricli 238
99. Rode, Pierre 238
100. RoUa, Alessaudro 246
101. Romberg, Audreas 247
102. Romberg, Beruhard 248
103. Root, George Frederick 251
104. Rore, Cipriauo de 251
105. Rossi, Lauro 257
106. Rossini, Gioacchiuo Antonio, in
1820 259
107. Rossini, Gioacchino Antonio, in
1865 260
108. Rouget de Lisle, Claude Joseph. . 265
PAGE
109. Rubinstein, Anton Gregor 268
110. Rubinstein, Nicolai 271
111. Rudorff, Ernst 271
112. Rungeuhagen, Carl Fricdrich 275
113. Russell, Henry 276
114. Sacchini, Antonio Maria Gasparo. 280
115. Sainton, Prosjier 285
116. Sainton-Dolby, Charlotte Helen. 286
117. Saiut-Saeiis, Camille 286
118. Sala, Niccolo 289
119. Salamau, Charles Kensington . . . 289
120. Salieri, Antonio 291
121. Salomon, Johaun Peter 294
122. Salvayre, Gervais Bernard 295
123. Sarasate, Pablo de 300
124. Sauret, Emile 305
125. Scarlatti, Alessandro 307
126. Scarlatti, Domenico 310
127. Scharwcnka, Philipp 313
128. Scharwenka, Xaver 314
129. Scheldt, Samuel 315
130. Schein, Johann Herrmann 315
131. Sehicht, Johann Gottfried 317
132. SchlOsscr, Adolf 321
133. Schmidt, Gustav 322
134. Schneider, Friedricli 326
135. Schoeuefeld, Henry 328
136. Scholtz, HeiTmanu 328
137. Scholz, Bernhard 329
138. Schroder, Karl 331
139. Schubert, Franz 333
140. Schulhofif, Julius 342
141. Schulz, Johaun Abraham Peter.. 343
142. Schumann, Clara 344
143. Schumann, Robert 345
144. Schuster, Joseph 350
145. Schiitz, Heinrich 351
146. Schweitzei', Antou 354
147. Senfl, Ludwig 363
148. Serpette, Gaston 365
149. Servais, Adrien Franyois 366
150. Sherwood, Edgar Harmon 370
151. Sherwood, William Hall 370
152. Shield, WiUiam 371
153. Silas, Eduard -. 378
154. Simouelli, Matteo 380
PORTRAITS OF MUSICIAN'S
PAGE
155. Singer, Edmund 383
156. Sivori, Ernesto CamiUo 386
157. Smart, George 389
158. Smart, Henry 389
159. Smith, AUce Mary 390
160. Smitb, John Stafford 391
161. Smith, Sydney 392
162. Smith, Wilson George 392
163. Solomon, Edward 397
164. Sijenser, Willard 409
165. Spindler, Fritz 410
166. SiJoln-, Louis 411
167. Spontini, Gasparo 414
168. Staden, Johann 420
169. Stainer, John 422
170. Stanford, Charles Villiers 423
171. Stanley, John 424
172. Steibelt, Daniel 429
173. Stephens, Charles Edward 430
174. Sternberg, Constantin Ivano-
vitch 431
175. Stevenson, John Andrew 432
176. Stobaus, Johann 434
177. StOr, Karl 434
178. Strauss, Eduard 438
179. Strauss, Johann, the elder 438
180. Strauss, Johann, the younger . . . 439
181. Strauss, Joseph 440
182. Sullivan, Arthur Seymour 445
183. Suppe, Franz von 447
184. Svendsen, Johan 448
185. Sweelinck, Jan Pieter 449
186. Sj-eroff, Alexander Nikolaye-
vitch 450
187. Sympson, Christopher 452
188. Tartini, Giuseppe 461
189. Taubert, Wilhelm 462
190. Tausig, Karl 464
191. Telemann, Georg Philipp 466
192. Thalberg, Sigismund 473
193. Thomas, Ambroise 479
194. Tosti, Francesco Paolo 490
195. Tozzi, Antonio 490
196. Traetta, Tommaso 491
197. Tschaikowsky, Peter 504
PAGE
198. Tuma, Franz 506
199. Turpin, Edmund Hart 508
200. Van der Stucken, Frank Valentin . 520
201. Verdi, Giuseppe, in 1859 527
202. Verdi, Giusei^pe, in 1880 527
203. Vierling, Georg 537
204. Vieuxtemps, Henri 538
205. Vinci, Leonardo 540
206. Viotti, Giovanni Battista 541
207. Vivaldi, Antonio 544
208. Vogler, Georg Joseph 546
209. Vogrich, Max 546
210. Volkmann, Eobert 548
211. Wagner, Kicbard, in 1853 542
212. Wagner, Richard, in 1880 542
213. Wallace, Vincent 560
214. Walliser, Chi-istoph Thomas .... 561
215. WallnOfer, Adolf 561
216. Webbe, Samuel 567
217. Weber, Carl Maria von, in 1809. . 568
218. Weber, Carl Maria von, in 1825 . 569
219. Weber, Gottfried 573
220. Weigl, Joseph 575
221. Wels, Charles 580
222. Wesley, Samuel Sebastian 583
22.3. Westbrooke, William Joseph 584
224. Westrop, Henry John 585
225. Widmann, Erasmus 588
226. Wieniawski, Henri 589
227. Wieniawski, Joseph 590
228. Wilhelm, Karl 591
229. Wilhelmj, August 591
230. Willaei-t, Adrian 591
231. Willmers, Heinrich Eudolf 593
232. Wilson, John 594
233. Winter, Peter von 596
234. WOlfl, Joseph 600
235. Wollenhaupt, Hermann Adolph.. 601
236. Wiierst, Richard 603
237. Wiillner, Franz 603
238. Zelter, Karl Friedrich 610
239. Zoeller, Carli 616
240. Zollner, Karl Friedrich 617
241. Zumsteeg, Johann Eudolf 618
PORTRAITS OF SINGERS, AUTOGRAPHS, FACSIMILES,
ETC.
1.
Autograph of Pictro Nardini,
27
1790
6
•:^s
2.
Autograph of Johann GottHeb Nau-
29
mann, 1761
9
30
3.
Autograph of Otto Nicolai, 1841 . .
17
31
4.
Portrait of Giulia Grisi
24
5.
Portrait of Angehca Catalani
28
32
G.
Portrait of Eugenia Papj)eiiheim . .
31
33
7.
Autograph of Jacques Offeuhach,
1858
38
34
8.
Portrait of Pauline I\Iilder-Haui)t-
35
maun
42
9.
Autograph of George Onslow,
30
1830
44
45
37
10.
Portrait of Giuseppa Grassini
11.
Heleue Hastreiter, as Orpheus ....
50
38.
12.
Manuel Garcia, as Otello
54
39.
IS
54
55
'10
U
Portrait of Tamagno
15.
Autograph of FerJinando Paor,
41.
1803
63
65
16.
Paganini, in 1831
42
17.
Autograph of Paganini
66
18.
Autograph of Paisiello, 1811
70
43
19.
Autogi-aph of Palestrina, 1589
74
20.
Portrait of Dcsirce Artut
80
44
21.
Winckelmanu, as Parsifal
87
45
22.
Portrait of Emma Nevada
110
40
23.
Autograph of Louis de Persuis,
47
1817
112
48
24.
Autograph of Jacopo Antonio
Perti
113
139
49
25.
Portrait of Marie Gabrielle Krauss.
50.
26.
Autograph of Michael Priitorius,
51
1616
150
PAGE
Portrait of Pauline Viardot-Garcia . 157
Koger, as John of Leydeu 157
Birthplace of Henrj' Purcell 105
Autograjih of Henry Purcell 108
Portrait of Giovanni Battista Ru-
bini 108
Portrait of Antonio Tamburini. .. . 168
Autograjih of Johann Joachim
Quautz, 1733 171
Autograph of Joachim Raff, 1875 . 170
Autograph of Jean Philippe Ra-
meau, 1749 181
Autograph of Anton Reicha, 1800 . 192
Autograph of Johann Friedrich
Reichardt, 1812 193
Autograph of Karl Reineclcc, 1883 . 195
Portrait of Mme Gueymard 190
Portrait of Euphi'osync ParejDa-
Rosa 197
Portrait of Antoinette Ceeile Saint-
Huberty 201
Autogi-aph of George Reutter,
1761 207
Autograph of Jose]3h Rhcinberger,
1872 210
Carl Hill, as Alberich 211
Portrait of Fanny Moran-Olden . . 212
Portrait of Faustina Bordoni 213
Tichatschek, as Rienzi 220
Autograph of Ferdinand Ries,
1816 221
Autograph of Julius Rietz, 1855 . . 224
Portrait of Padilla-y-Ramos 225
Portrait of Julie Aimee Dorus-
Gras 235
xU
PORTRAITS OF SINGERS, AUTOGRAPHS, ETC.
52.
Autograph of Pierre Rode, 1827 . .
PAGE
239
81
53.
Portrait of Francesca Cuzzoni ....
239
54.
Portrait of Josephine De Eeszke . .
243
82
55.
Autograph of Andreas Romberg,
1816
247
S3
5G.
Autograph of Bernhard Romberg,
1828
248
84
57.
Autograph of Cipriano de Rore,
1558
252
85
58.
Autograph of Gioacchino Rossini,
86
1853
262
87
59.
Autograph of Claude Joseph Rou-
88
get de Lisle
265
89
GO.
Autograph of Anton Rubinstein,
1872
270
27G
90
Gl.
Autograph of Henry Russell
62.
Autograph of Antonio Maria Gas-
91
paro Sacchini, 1784
282
G3.
Autograph of Camille Saint-Sacns.
288
92
Gl.
Autograph of Antonio Salieri,
1816
293
93
G5.
Autograph of Antonio Scandelli,
94
1574
307
GG.
Autograph of Alessandro Scarlatti,
95
1706
309
G7.
Autograph of Samuel Scheldt,
96
1624
315
G8.
Autograph of Johann Schenk,
97.
1830
316
G9.
Autograph of Johann Gottfried
98.
Schicht, 1807
317
70.
Autograph of Friedrich Schneider,
99
1830
32G
71.
Facsimile of Schubert's MS. : Dor
100
Erlkonig
335
72.
Schubert's Tomb
336
101.
73.
Autographs of Franz Schubert . . .
340
102.
74.
Autograph of Julius Schulhoff. . . .
342
103
75.
Autograph of Johaun Abraham
104
Peter Schulz, 1797
343
105
7G.
Autograph of Clara Schumann ....
344
106
77.
Birthplace of Robert Schumann . .
345
78.
Grave of Robert Schumann
346
107.
79.
Facsimile of Schumann's MS.: Al-
108
bum f iir die Jugend
347
80.
Autograph of Robert Schumann,
109
1841
349
Autograph of Joseph Schuster,
1780 350
Autograph of Heinrich Schiitz,
1624 352
Autograph of Simon Sechter,
1837 357
Portrait of Josephine Mainvielle-
Fodor 361
Sofia Scalchi, as Ai-sace 362
Autograph of Ludwig Senfl, 1537 . 363
Georg Unger, as Siegfried 374
Lilli Lehmann, as Brunnhilde . . . 375
Portrait of Gustave Hippolite
Roger 384
Delphine Ugalde, as Queen Eliza-
beth 401
Portrait of Maria Catarina Cara-
dori- Allan 402
Facsimile of Spohr's MS. : Dojj-
j)el-Quartet in G minor 412
Autographs of Louis Sjjohr, 1845 . 414
Autograph of Gasjiaro Spoutini,
1816
Autograph of Agostino Steflfani,
1709
Autograjjli of Johann Strauss?, the
elder, 1834 439
Autograph of Joliann Strauss, the
younger 440
Autograph of Nikolaus Adam
Strungk, 1697 442
Autograph of Ai-thur Seymour
Sullivan 445
Autogi-aph of Alexander Syeroff,
1862 450
Autograph of Giovanni Tadolini . 453
Autograph of Thomas Tallys .... 456
Portrait of Sabina Heinefetter. . . 457
Anton Schott, as Tannhiiuser. . . . 458
Portrait of Johanna Wagner 459
Autograph of Giuseppe Tartini,
1731 462
Autograph of Karl Tausig, 1866 . . 464
Autograph of Georg Philipp Tele-
mann, 1729 467
Autograph of Sigismund Thal-
berg, 1838 474
416
428
PORTRAITS OF SINGERS, AUTOGRAPHS, ETC.
110. Autograph of Ambroise Thomas.
111. Portrait of Maria Piccolomini . . .
112. Indienne in Le triomphe de
I'amour
113. Portrait of Ludwig Schnorr von
Carolsfeld
114. Portrait of Marie Sasse
115. Portrait of Francois Villaret
116. Portrait of Ronzi de Begnis
117. Portrait of Giglio Nordica
118. Statue of Verdi, at Milan
119. Autograph of Verdi
120. Portrait of Judic
121. Portrait of Furscb-Madi
122. Autograph of Henri Vieuxtemps.
123. Autograph of Giovanni Battista
Viotti
124. Autograph of Georg Joseph Vog-
ler
PAGE
480
125
493
126
127
496
128
129
498
130
502
131
502
132
507
525
133
528
134
529
135.
532
136.
533
137.
538
138.
139.
542
140.
546
141.
PAGE
Autogi-aph of Robert Volkmann . 549
Facsimile of Wagner's MS 553
Wagner's Birthplace 554
Autograph of Richard Wagner. . . 557
Niemann, as Siegmund 558
Betz, as Wotan 559
Birthplace of von Weber 570
Autographs of Cai-1 Maria von
Weber 572
Autograph of Joseph Weigl 576
Autograph of Adrian Willaert . . . 592
Autograph of Peter von Winter. . 596
Vanzini as Zaire 605
Portrait of Sylva 006
Autograph of Gioseffo Zarlino . . . 606
Portrait of Etelka Gerster 608
Autograph of Karl Friedrich Zel-
ter 610
Autograph of Niccola Zingarelli. . 615
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Viotti. Paris, 1810.
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TABLE OF ABBREVIATIONS.
A., Alto.
M., Monsieur.
B., Bass, Basso, etc.
Mile, Mademoiselle.
Bar., Baritone.
IMnie, Madame.
B. M. v., Beata Maria
Virgo.
JIS., MSS., Manuscript, Manuscripts
Biog., Bioj^rapby, Bio
gratia, etc.
M. S., Mezzo-soprano.
Catb., Cathedral.
Mus. Bac, Bachelor of Music.
Ch., Chun'h.
Mus. Doc, Doctor of Music.
Col., Collection.
n. d., no date.
do., ditto.
op., opus, opera.
etc., et cetera.
R A. M., Royal Academy of jMusic.
ct seq., et sequeiitia.
S., Soprano.
Fr., Freucli.
S., Sta., San, Santa.
Ger., German.
S. M., Santa Maria.
ib., ibidem.
Sp., Spanish.
id., idem.
St., Saint.
It., Italian.
T., Tenor.
L. of Honour, Legion
of Honour.
Voc, Voces.
Lib., Liber.
Vol., Volume.
*^* Words in italics indicate the
alphabetii
:al place of articles on the suhjccis specifiec
CYCLOPEDIA
OF
Music and Musicians
NAAMAN, oratorio in two parts, text
by W. Bartholomew, music by Sir
Michael Costa, first performed at the
Birmiugbam (England) Festival, Sept. 7,
18C4. Characters represented : Naaman
(T.), Mr. Sims Reeves ; Elisha (Bar.), Mr.
Santley ; Gehazi (B.), Mr. Cummings ; Adah
(S.), Mile Adelina Patti ; The Shunamite
Widow (A.), Mme Rudersdorff. It was
again sung at the same place, Sept. 1, 1870,
and was given by the Handel and Haydu
Society, Boston, March 27, 18G9. Pub-
lished by Addison & Co. (London, 18G-4).
— Athenfcum (18G4), ii. 345, 378 ; (1870), ii.
346 ; (1878), i. 19G.
NABUCCO, Italian oj^era in four acts,
text by Solera, music by Verdi, first repre-
sented at La Seala, Milan, March 9, 1842,
with the following cast :
Nabucco (Bar.) Signor Ronconi.
Zaccaria (B.) Signor Derivis.
Ismaele (T.) Signor Miraglia.
Abigailo (S.) Mme Strepponi.
Fenena (A.) Mme Bollinzagi.
The original title, Nabucodonosor, was
shortened to Nabucco. It was the first
opera that established Verdi's reputation in
France. The subject treats of Nebuchad-
nezzar's madness, of which a captive, Abi-
gaile, who pretends to be of noble birth,
takes advantage for self-aggrandizement;
her downfall, and the expiation of the king.
This opera was first given in Vienna in
1843 ; in Berlin in 1844 ; and in Loudon
as Nino, March 4, 1846. It was first repre-
sented in New York, April 4, 1848. Pub-
lished by Diabelli (Vienna, 1844). Same
subject, Nebukadnezar, German opera, text
by Menautes, music by Reinhardt Keiser,
Hamburg, 1704 ; Nabuchodonosor, Italian
opera seria, or oratorio, text by Rocco
Maria Rossi, music by Attilio Ariosti, Vi-
enna, 1706 ; Nabuco, Portuguese ballet in
one act, by Pinto, Lisbon, about 1850 ; and
an operetta in one act, by J. J. Debillemont,
Paris, 1871. — Clement et Larousse, 471 ;
Grove, iv. 246 ; Allgem. mus. Zeitg., xlvi.
265 ; Athenanim (1846), 250.
NACCIARONE, GUGLIELMO, born in
Naples, Feb. 18, 1837, still li\ing, 1890.
Pianist, son of the following, pupil of Mi-
chele Marrano, and in composition of his
father ; he appeared successfully in public
at the age of ten, and two years after played
in Paris, ajjplauded by Thalberg. Return-
ing to Naples in 1851, he was heard in
Florence, and in 1858 made a concert tour
through Germany. Works : Pier de' Me-
dici, opera ; Cantata ; 2 symphonies for or-
chestra ; Miserere ; Pianoforte pieces ; Ro-
mances, etc. — Futis, Supplement, ii. 259.
NACCIARONE
NACCIARONE, NICOLA, born in Na-
ples, April 2, 1802, died there, December,
1876. Pianist, pupil at the Couservatorio
of Eaffaelle Cioifi and of Giuseppe Elia ; and
in singing of Liiigi Mosca, in harmony and
counterpoint of Fenaroli and Zingarelli,
and private puf)il on the pianoforte of John
Field. Works : Requiem, 1859 ; Sanctus
for eight voices, and other church music ;
4 sj-mphonies for orchestra ; Funeral sym-
phony ; Quartets for pianoforte and strings ;
Pianoforte music, and songs. Sofonisba,
opera (unpublished). — Fctis, Supplement,
ii. 259.
NACHKLANTGE AN OSSIAN (Echoes
from Ossian), concert overture for orches-
tra, in A minor, by Niels W. Gade, first
performed in Copenhagen in 1841. Gade
received in 1841 for this work a prize from
the Musical Union of Copenhagen. It was
given in Leijjsic, Jan. 27, 1842, and by the
Philharmonic Society, New York, in the
season of 1852-53. Published by Breitkopf
& Hiirtel (Leipsic, 1841). Arranged for
pianoforte for four hands. — Allgem. mus.
Zeitg., xliii. 975 ; Neuc Zeits., xvi. 41 ; Sig-
nale (1882), 8G5.
NACHT DIE (The Night), cantata for
soli, chorus, and orchestra, text by M.
Hartmann, music by Ferdinand Hiller.
Published by Leuckart (Breslau, 18G3).
—Allgem. mus. Zeitg. (18G3), 267.
NACHTLAGEK IN GRANADA, DAS
(A Night in Granada), romantic opera in
two acts, test from Johann Friedrich Iviud's
drama, music by Konradin Kreutzer, first
represented in Vienna in 1834. The Prince
of Spain, hunting incognito, cornea to a
mountain near a Moorish castle, where
he finds a young girl, Gabrielle, bewailing
the loss of a dove, which has been cai-ried
away by an eagle. She tells him also that
her guai-dian intends to mai-ry her to Vasco,
but that she wiU not forsake her lover, Go-
mez. The huntsman promises the protec-
tion of the Prince, and at this moment the
other huntsmen, including Vasco, arrive.
In the meanwhile Gomez, who has been to
court to ask aid from the Prince in securing
Gabrielle's hand, follows him to the Moor-
ish castle and ai'rives in time to defend
him from the huntsmen, who have conspired
to kill him. Afterwards he is rewarded with
the hand of Gabrielle. The opera was given
in Paris in 1843 ; and ui New York in 1864.
Published by Diabelli (Vienna).
NACHTLIED (Night Song), song by
Hebbel, set for solo, chorus, and orchestra,
by Robert Schumann, op. 108, first given ui
Diisseldorf, March 13, 1851. It was com-
posed in 1849, dedicated to Hebbel, and was
published by Simrock (pianoforte score,
Bonn, 1852 ; full score, 1853). Breitkopf &
Hiirtel, Schumann Werke, Serie ix.. No. 7.
NACHTSTUCIvE (Night Pieces), four
pieces for pianoforte, by Schumann, op. 23,
composed in Vienna in 1839, and dedicated
to F. A. Becker, of Freiburg. The name is
taken from a series of tales by Hoflinann.
I. Mehr langsam, oft zuruckhaltend (in C) ;
H. Markirt und lebhaft (in F) ; HI. Slit
grosser Lebhaflikeit (in D-flat) ; IV. Eiu-
fach (in F). Published by P. Mechetti
(Vienna, 1840) ; also by Spina (Vienna).
Breitkopf & Hiirtel, Schumann Werke,
Serie vii.. No. 23. — Grove.
NADAUD, GUSTA\^, born at Roubaix
(Nord), France, Feb. 20, 1820, still Uving,
1890. Vocal composer, at first intended for
a mercantile cai'cer, but was so encouraged
by the success of some chansons, of which
he had written both words and music, that
he devoted himself to this species of com-
position. He has published fifteen volumes,
each containing twenty chansons, and a vol-
ume of Chansons legeres. He has written
also three parlor operettas : Le docteur
Vieuxtemps ; La voUere ; Porte et fenetre.
Legion of Honour, 1861. — Fetis, Suj^jjlc-
ment, ii. 260.
NADERJLiN (Nadermann), FRANgOIS
JOSEPH, born in Paris, 1773, died there,
Aijril 2, 1835. Virtuoso on the harp, pupil of
Krumpholz, and in composition of Des-
vignes ; in 181G royal chamber harpist, and
in 1825 professor at the Conservatoii-e. He
NAGELI
bad made a concert tour in Germany in
1798, and liad played with success in Mu-
nich and Vienna. After his father's death
he became associated with his brother Henri
in the management of the harj) factory which
they inherited. Works : 2 concertos for
tlie harp, op. 13, 40 ; 2 quartets for 2 harps,
vioUn and violoncello, op. 42 ; Quartets for
harp, pianoforte, violin and violoncello, op.
43, 54 ; Trios for harp and various instru-
ments ; Trio for harps, op. .57 ; Duos for
harj) and violin or flute ; Do. for harp and
pianoforte ; Sonatas, au-3 varies, fantaisies,
etc., for harp. — Fctis.
NAGELI, HANS GEOKG, born at Wet-
zicon, Canton Zurich, Switzerland, May 10,
1773, died at Zurich, Dec. 26, 1836. Didac-
tic and critical writer ; deserves much cred-
it for good and clear editions of classical
works — Handel's, Bach's and Frescobaldi's,
and the Repertoire des claveciuistes (1803),
containing works of Beethoven, Clementi,
Dussek, and Steibelt. In 1824 he travelled
in Germany, and gave lectures on music ;
was a believer in the Pestalozzian method
and used it more than twenty j'ears in a
school ho had established. He was founder
and president of a society for the cultiva-
tion of music. He is best known for his
audacity in inserting four bars into one of
Beethoven's sonatas. Works : Choruses for
church and school ; Toccatas for pianoforte ;
Many collections of songs, including Freut
Euch des Lebens. He jJubhshed also Go-
sangbildungslehre nach Pestalozzisehen
Gruudsiltzen (ib., 1810), Vorlesungen fiber
Musik mit Beriicksichtigung der Dilettanten
(Stuttgai-t and Tubingen, 1826), and sev-
eral other books and pamphlets. — AUgem.
d. Biog., xxiii. 221 ; Bierer, Hans Nageli,
Erinnerungen, etc. (Zurich, 1844) ; Biog.
von H. G. Nilgeli (ib., 1837) ; Heindl,
Biog. der beriihmtesten Piidagogen, etc. ? ;
Keller, H. G. Nageli, eiue Festrede, etc.
(Zurich, 1848) ; Schwager, Der deutscho
Miinnergesang, etc. (Kaiserslautern, 1879).
NAGILLER, MATTHAUS, born at Mini-
ster (Tyrol), Oct. 24, 1815 (Oct. 14, 1817 ?),
died at Innspruck, July 8, 1874. Instru-
mental and vocal composer, first instructed
at Schwaz by the choir-master Pichler, then
at Innspruck, pupil of Martin Goller in har-
mony, and at the Vienna Conservatorium, of
Preyer in comjjosition ; won the first prize
in i840, and went to Paris in 1842. He
soon gained reputation as a teacher, founded
and conducted the Mozart- Verein, and in
1846 made a concert tour in Germany,
bringing out successfully his first sym-
phony, previously produced in Paris, and
other compositions, at Cologne, Munich,
and Berlin. In 1848 he left Paris to return
to his native land, where he settled in 1850,
after travelling in Germany. In 1854 he
removed to Munich, bi-ought out some of
his more ambitious compositions, and re-
peatedly made concert tours to different
cities until 1805, when he was called to
Botzen as Kapellmeister and music direc-
tor ; in 1866 he went in the same capacity
to Innspruck, where he assumed also the
direction of the Consei'vatorium and was
very active in promoting a higher standai'd
of music. Works : Herzog Friedrich von
Tirol, opera, given at Botzen, 1861, Inns-
pruck, 1802 ; Music to Widmann's Nausi-
kaa ; Symj)houy in C minor ; Solemn mass ;
Other masses ; Offertories ; Tantum ergo ;
etc. ; Overtures ; Choruses and songs.
— Allgem. d. Biog., xsiii. 227 ; AUgem.
Zeitg., July 15, 1874, Beilagc, 190 ; Egger,
Tiroler, and Vorarlberger (1882), 483 ;
Heindl, Galleni beriihmter Piidagogen, etc.
(Munich, 1859), ii. 50 ; Wurzbach.
NALiDS, THE. See Die Najaden,
NAIM, overture to an opera in five acts, of
the same name, by Napoleon Henri Keber.
The overture has been frequently performed,
but the opera has never been given.
NAIS, opera-ballet in three acts, text by
Cahusac, music by Rameau, first repre-
sented at the Academie Royale de Musiquo,
Paris, April 22, 1749. It was revived Aug.
7, 1764.
NAJADEN, DIE (The Naiads), overture
for orchestra in D, by William Sterndalo
NALA
Bennett, op. 15, first performed at the Ge-
waudhaus, Leipsic, March 7, 1837, under
Mendelssohn's dii-ection. It was given bj'
the Philharmonic Society of London in 1837 ;
of New York in the season of 1844-45. Pub-
lished by Kistner (Leipsic, 1841). — Schu-
mann, Gesammelte Schriften, ii. 98.
NALA UND DAIVIAYANTI, cantata, text
by Frau Dr. Soiihie Hasenclever, music by
Ferdinand HOler, op. 150, written for and
first performed at the Birmingham (Eng-
land) Festival, Sept. 1, 1870, under Hitler's
direction. The solo singers were : Miss
Edith Wynne, Mr. Cummings, and Mr.
Santley. The subject is from the Maha-
bharata, and treats of the love of Nala for
the maiden Damayanti. It was given in
London, May 15, 1871. Pubhshed by No-
vello (Loudon, 1870).— Athenreum (1870), ii.
314.
NALDINI, S.ANTE, born in Rome, Feb.
5, 1588, died there, Oct. 10, 1GG6. Church
composer, was tenor in the papal chapel in
1G17, and later abbate. Ho was one of
those commissioned by Pope Urban "Viil. to
publish the hynuis of the church with Gre-
gorian melodies, and music by Palestrina.
"Works : Miserere ; Motets ; Hymni Sacri in
Breviario Romano. S. D. N. Urbani YIH.
auctoritate recogniti, et cantu musico pro
prsecijiuis anni festivitatibus esjiressi (^bat-
wei"p, 1644). — Mendel ; Fctis ; Schilling ;
Gerber.
NAMENSFEIER (Name Festival), over-
ture for orchestra, iu C, bj* Beethoven, op.
115, first performed in Vienna, Oct. 4,
1814, the name-day of Franz I., Emperor
of Austria. Beethoven, hoping to have this
work heard by the crowned heads of Eu-
rope, who were holding a Congress in Vienna
in the autumn of 1814, wrote on the title-
page " Zum Namenstag unseres Kaisers."
It was played in the Great Redoutensaal,
Vienna, Dec. 25, 1815, without the title
" Namensfeier," and in 1818 it was given
under the strange title of " A la Chasse."
In 1825 Beethoven called it simply " Grosse
Ouverture in C dur," and dedicated it to
Prince Anton Heinrich Radziwill. The
original MS. is in the Konigliche Bil)liothek,
Vienna. This overture was more frequently
worked over than any other of Beethoven's
instrumental compositions. The first sketch
was made in 1809, and others arc combined
with sketches for the seventh, eighth, and
ninth symphonies. It is especially interest-
ing on account of its connection mth the
ninth symphony, for its principal theme re-
sembles that ■nTitten to Schiller's " Ode to
Joy," which at one time Beethoven thought
of setting as a chorus preceded by an over-
ture. It was first jHiblished by S. A. Steiner
& Co. (Vienna), shortly after Beethoven's
death ; by Haslinger (Vienna, 1830) ; by
Schlesinger under the title of " A la Chasse"
(Paris) ; and by Breitkopf & Hiirtel, Beetho-
ven Werke, Serie iii., No. 23. — Thayer, Ver-
zeichniss, 125 ; Lenz, Beethoven, ii.. Part ii.
124 ; Marx, Beethoven, ii. 225 ; Nottebohm,
Beothoveniaua, 35 ; Schiudler, ii. 153 ; Mas.
Wochenblatt (187G), 1.
NiiMOLT^A, ballet in two acts and three
tableaux, text by Charles Nuittier, music
by £douai-d Lalo, first represented at the
Opera, Paris, March G, 1882, wth Mile
Sangalli as Namouna. Namouna, the danc-
ing slave of Adriani, passes into the posses-
sion of Ottavio in payment of a gambling
debt. Her old master, who loves her, fol-
lows her with his suit, but she falls in love
with Ottavio, and pursues him until he is
won through her airy grace and charm.
Introduction and serenade from Namouna,
first performed in America by the Symphony
Society, Nov. 25, 1887.— Le Menestrel
(1881-82), 115.
NANCE, song for chorus and orchestra,
text on Schiller's words, " Auch das Schdne
muss sterben," music by Brahms, op. 82,
first given in Basel, Nov. 11, 1881 ; in Vi-
enna, Feb. 10, 1882. Niinia was a classical
term for a funeral dirge. Published by
Peters (Leipsic, 1881).
NANIE, song for chorus and orchestra,
text from SchQlcr, music by Hermann
Goetz, op. 10, first given in 1875. Pub-
NANINI
lished by Kistner (Leipsic, 1876). — Mua.
Wochenblatt (187G), 722.
NANESfl, GIOVANNI BERNAKDINO
(Ambros gives both Bernardo and Bernar-
dio), born at Vallerano about the middle of
the IGth century, died in Kome about 1C20.
He studied counterpoint under his elder
brother, Giovanni Maria. Went afterwards
to Rome, where he was made maestro di cajj-
pella at S. Luigi de' Francesi, and later at
S. Lorenzo in Damaso. About 1575 he
began to assist his bi'other in his newly
founded music school. No more is known
of his life. Although not so imposing a
genius as his brother, be was still one of
the greatest men of the " great " Roman
contrapuntal school. His compositions
have a little more of modern flavour than
those of his great contemporaries, and he
was one of the first of the school to add an
organ part to his vocal counterj)oint. Many
of his most important works, among them
his Salve Regina, 12 voc, are still in IMS.
Published works : Madrigali a 5 voci. Lib.
L (Venice, 1579, 1588, 1598) ; Idem, Lib. H.
(ib., 1599) ; Mottecta 1, 2, 3, 4, 5 voc. una
cum gravi voce ad orgaui sonum accomo-
data, Lib. I. (Rome, 1G08) ; Idem, Lib. H.
(ib., IGll) ; Idem, Lib. HI. (ib., 1G12) ;
Idem, Lib. IV. (ib., 1618) ; Salmi a 4 voci
con r organo (ib., 1620) ; Venite, exultemus
Domino, a 3 voci col' organo (Assisi, 1620) ;
Psalms, motets, and madrigals, some in
MS., and many published in various collec-
tions by Phalesius and others ; MS. Psalms
and Motets 8 voc, and Salve Regina, 12 voc,
in Santini collection, now in the episcopal
Palace at Miinster ; 3 psalms, 4 voc, in
Proske's Musica Divina. — Ambros, iv. 70 ;
Riemann ; Fttis ; Grove.
NANINI, GIOVANNI MARIA, born at
Vallerano, about 1540, died in Rome, March
11, 1607. Elder brother of the above;
studied counterpoint at Goudimel's school
in Rome ; the legend that he was a fellow
pupil of Palestrina is undoubtedly false, as
Palestrina must have left the school before
Naniui entered it. He returned to Vallera-
no as maestro di cappella, but in 1571 went
back to Rome to succeed Palestrina aa
maestro di cappella
at Santa Maria Mag-
giore ; in 1575 ho
resigned this post to
Ij^polito Tartaglini,
and established the
first public music
school in Rome. At
this famous school,
in which he was as-
sisted by his brother
Giovanni Bernardi-
no, and by Palestrina himself, almost all the
best composers of the decline of the great
Roman period got their musical education.
On Oct. 27, 1577, he was elected member
of the Pontifical choir, for which he wrote
many of his best works. He was buried
in S. Luigi de' Francesi. Nanini was one
of the greatest composers of the great Ro-
man school ; indeed ho was little inferior
to Palestrina. His works are esijecially
noted for their perfection of form and style.
His six-voice " Hodie nobis cmlorum rex " is
still sung annually in the Sixtino Chai^el on
Christmas morning. Works : Motetti a 3
voci (Venice, Gardano, 1578) ; do. a 5 voci
(ib., 1578) ; Madrigali a 5 voci, lib. L (ib.,
1578) ; do., hb. H. (ib., 1580 ; other eds.,
1582, 1587, 1605) ; do., lib. HI. (ib., 1584) ;
do., lib. rV. (ib., 1586) ; Canzonetti a 2
voci (ib., 1587) ; Psalmo 7 voc. in Fabio
Costantiui's Salmi a 8 di diversi, etc. (Na-
ples, 1615) ; Motets in Phalesius's Har-
monia celeste, Melodia olimpica, Musica
divina, Symj)honia angelica, etc Cento
ciuquanta sette coutrapjiunti e canoni a 2-
11 voci, sopra del canto formo iutitolato La
Base di Costanzo Festa, MS. ; 1 Madrigal,
8 voc, MS., in the Munich Library ; Three
motets, 3 voc, one do., 4 voc. ; one Miserere,
4 voc, in Proske's Musica divina ; other
single works in collections by Rochlitz,
Tucher, Liick, and Prince von der Mosz-
kwa. Regole di Giov. Maria e di Bernar-
dino Naniui, per far il contrajipunto a men-
NANTEKNI
te sojira il canto formo (written conjointly
by both brothers) in MS., transcribed by
Orazio Griffi, is in the Palazzo Corsiui aUa
Luugara. — Aiubros, iv. 67 ; Fotis ; Eie-
niann ; Grove.
NANTEKNI, ORAZIO, born in ]\Iilan
about the middle of the 16th century, died
(?). He was maestro di cappella of S. Celso
about 1590, and is jiraised by wi-iters of
his time. Besides the collection II primo
libro di Motetti a cinque voci (ililau, 160G),
his compositions may be found in most of the
collections published about the beginning
of the 17th century. His son Michel An-
gelo, who succeeded him at S. Celso, pub-
lished madrigals and canzonets. — Futis.
NAPRAVNI'K, EDUARD, born at Bejsfc,
near Kouiggriitz,
Bohemia, Aug. 24,
1839, still living,
1890. Dramatic
composer, first in-
structed on the pi-
anoforte by Josef
Puhonn^, then at
Pardubitz (1850) on
the jjianofortc and
organ by August
Svoboda, his uncle ;
finally, in Prague, pupil at the organ school
of Blaiiek, and Kaj-1 Pitsch, and at Maydl's
pianoforte school, where in 1850 he became
instructor, studying at the same time instru-
mentation under Fricdrich Kittl. In 1861
he went to St. Petersburg as Kapellmeister
to Prince YussupolT, whose orchestra he re-
organized. In 1862 he was appointed or-
ganist at the imperial ojaei'a, soon after
chorus-master and assistant Kapellmeister,
and in 1869 first court Kapellmeister.
From Balakirev's resignation in 1872, until
1882, he also conducted the symphony con-
certs of the music society. Works — Ojieras :
The Tempest ; Nizegorodni, given at St.
Petersburg, 1869 ; Harold, ib., 1886. The
Demon, sj-mphonic poem ; Vlasta, overture
for orchestra, Prague, 1861 ; Ccske perle
(Bohemian pearls), fantasia for pianoforte
and orchestra ; Lou6eni (The Farewell), do. ;
Trios, quartets, pianoforte music ; Bohemian
and Russian songs. — Fotis, Supplement, ii.
262 ; Mendel, Ergiinz., 231 ; Riemanu.
NAIiCISSE, idylle antique, for chorus,
soli, and orchestra, text by Collin, music by
Massenet, first performed in Paris in 1878.
It was first given in New York at Chicker-
ing Hall, Feb. 2, 188G, with additional in-
strumentation by Franz Van dcr Stiickcn.
The solos were sung by Mme Christine
Dossert and Mr. W. H. Lawton. Pubhshed
by G. Hartmann (Paris).
"nARDINI, PIETRO, born at Fibiana,
Tuscany, in 1722,
died in Florence,
May 7, 1793. Vi-
olinist, pupil of
Tartini, in Padua ;
was, in 1753-67,
solo violinist at the
court in Stuttgart.
In the latter year
he returned to
Italy, and was a short time at Leghorn, then
in Padua with Tartini, nntil his old master's
death, in 1779, when he was appointed di-
rector of the court music in Florence. Ho
seems to have been a true musician, and
both Leopold jMozart and Schubart speak
enthusiastically of his inlaying. Works : 6
violin concertos ; 6 sonatas for violin and
bass ; 6 flute trios ; 6 violin solos ; 6 string
0^i^
<^
quartets ; 6 violin duets ; Sonatas in Alard's
Klassische Meistcr and David's Hohe Schulo
dcs Violinspiels. — Leoni, Elogio di Pietro
Nardini, etc. (Florence, 1793) ; Futis ; Ger-
ber ; Mendel ; Schilling ; Hart, The Violin,
224 ; Wasielewski, Die Violinc, 93 ; Du-
bourg. The Violin, 76.
NARES, JAMES, born at Stanwcll, IMid-
dlesex, England, in 1715, died in Loudon,
NAIiGEOT
Feb. 10, 1783. He was chorister in tbo
Chapel Eoyal, under Bernard Gates, and
afterwards j)upil of
Dr. P e p u s c h. He
acted in the place of
Pigott as organist of
St. George's Chajjel,
Windsor ; in 1734 suc-
ceeded Salisbury at
York Minster; in 1756
was organist and com-
poser in the Chapel
Eoyal, and in 1757-80 Master of the Chil-
dren there. Mus. Doc, Cambridge, 175G.
Works : Eight Sets of Harpsichord Les-
sons (17-48) ; 5 Harpsichord Lessons (1758) ;
Collection of Catches, Canons, and Glees ;
The Eoyal Pastoral, ode ; II Principio,
or, A regular Introduction to playing on
the Hai-psichord or Organ ; Treatise on
Singing ; 3 Easy Harpsichord Lessons ; Six
Organ Fugues ; Second Treatise on Sing-
ing, with a Set of English Duets ; 20 An-
thems, 1778 ; A Morning and Evening Ser-
vice and Six Anthems, 1788 ; To all lovers
of harmony, and other glees ; Service in F ;
Anthems, canons, and rounds in various col-
lections.— Grove ; Mendel ; Eiemann ; Fe-
tis ; Gerber ; Barrett, English Church
Composers, 134 ; Harmonicon (1829), 235.
NAEGEOT, PIEEEE JULIEN, born in
Paris, Jan. 7, 1799, died (?). Dramatic
composer, pupil at the Conservatoire of
Kreutzer on the violin, and of Barbereau,
Eeicha, and Lesueur in composition. He
was a member of the orchestras successive-
ly at the Opura Comique, the Theatre Ita-
lien, and the OiDcra, then became chef d'or-
chestre at the Theatre des Variotes. W^orks
—Operettas : Los Contrabandistas, 1861 ;
La volonte de mon oncle, 1862 ; Les ex-
jjloits de Sylvestre, 1805 ; Dans le pcti-iu,
18GG ; Jeanne, Jeannette et Jeauneton, 1870 ;
Trois troubadours ; I Pifierari ; Le docteur
Frontin ; Les ouvriferes de qualite. — Fetis ;
do., Supplement, ii. 263.
NASCO, GIOVANNI, Italian composer of
the 16th ceutuiy. He was maestro di cai^-
pella at Fano. W^orks : Primo libro di
Madrigali, etc. (Venice, 1555) ; Motetti a
cinque voci (ib., 1558) ; Madrigali, do. (ib.,
1559) ; Canzoni e Madrigali a sei voci, etc.
(ib., 1562) ; Lamentationes Jeremise cum
Passionis, etc. (ib., 1565). — Fetis ; Mendel.
NASOLINI, SEBASTIANO, born at Pia-
cenza, Italy, in 1768, died in Venice in 1799
(1810 ?). Dramatic composer. Works :
Nitteti, Trieste, 1788 ; L' isola incantata,
Parma, 1789 ; L' Adriano in Siria, Milan,
1790 ; L' Andromacca, London, 1790 ; Teseo,
Vienna, 1790 ; La morte di Cleoi^atra, Vi-
cenza, 1791 ; Ercole al Termodoute, Trieste,
1791 ; Semiramide, Eome, 1792 ; Eugenia,
Viceuza, about 1793 ; L' incantesimo senza
magia, about 1794 ; II trionfo di Clelia,
about 1799 ; Merope, about 1805 ; and sev-
eral others, given in different cities of Italy.
— Fetis ; Mendel.
NATHAN, ISAAC, born in Canterbury,
England, in 1792, died in Sydney, Australia,
Jan. 15, 1864. Intended for the priesthood,
he went to Cambridge in 1805 to study
Hebrew, but became the pupil of Domeuico
Corri in singing and composition. He was
then a singing master in London, and ap-
peared in Guy Mannering, at Covent Gar-
den, but without success. He emigrated
afterwards to Sydney. Works : The Al-
caid, opei-a, 1824 ; Tlie Illustrious Stran-
ger, operetta, 1827 ; Music for Sweethearts
and Wives ; Hebrew Melodies for Byron's
poetry ; Songs. He was author also of An
Essa}' on the History and Theory of Music,
and on the qualities, capabilities, and man-
agement of the Human Voice (London,
1823) ; also of the Life of Madame Malibran
de Beriot (ib., 1830).— Grove ; Fetis ; Men-
del ; Eiemann.
NATIONS, LES, suite, six morceaux
caracteristiques, for grand orchestra, by Mo-
ritz Moskowski, op. 23. I. Eussisch (Alle-
gretto) ; II. Italienisch (Presto) ; HI.
Deutsch (Andante sostenuto) ; IV. Spanisch
(Molto vivace) ; V. Polnisch (Allegro con
fuoco) ; VI. Ungarisch (Molto Allegro).
Published by Heinauer (Breslau, 1885) ; by
ISTATIVITfi
Durdilly (Pai-is). AiTangeJ for the piano-
forte for four Lands. — Neue Zeits. (1885),
366.
NATIVITY, LA, oratorio, text by Cliaba-
non de Maugris, music by Gossee, first per-
formed in France in 1780. It contains a
fine double chorus sung by angels and
sliepberds, ■which excited the greatest enthu-
siasm. Another effect was jjroduced by a
second orchestra behind the scenes. Per-
golesi also wrote an oratorio of the same
title. — ^Hcdouin, Gossee, sa vie et ses ou-
vrages.
NATIVITY, THE, cantata in three pai-ts,
for chonis, soli, and orchestra, text from
MU ton's ode " On the Morning of Christ's
Nativity," music by John Knowles Paine,
op. 38, first performed, 1883. — Upton,
Standard Cantatas, 28G.
NATUR UND LTEBE (Natui-e and Love),
cantata, text by Kind, music by Carl Maria
von Weber, for two sojjrauos, two tenors,
two basses, and pianoforte, wiitten for the
name-day of King Friedrich August of
Saxony, first performed in PiUnitz, Aug. 3,
1818. It was sung by Mile Julchen Zuchcr,
first soprano ; Mme Mieksch, second so-
prano ; Herr Bergmann, first tenor ; Herr
Wilhelmi, second tenor ; Herr Slieksch,
first bass ; and Herr Helwig, second bass.
The autograph is in the possession of Max
von Weber, and a copy is in the private
library of the King of Saxony. Published
by Schlesinger (Berlin). Published with a
second text, " Freundschaft und Liebe," by
Hei-klots ; in English as " The Offering of
Devotion " (Cramer & Co., London). — Jilhns,
Weber Verzeichniss, 257 ; Weber, Weber,
ii. 172 ; Berliner mus. Zeitg., i. 109.
NAUBEET, FRIEDRICH AUGUST, born
at Schkeuditz, Prussian Saxony, March 23,
1839, stiU living, 1890. Vocal composer,
pupil of Stern's Conservatorium in Berlin,
organist and vocal instructor at the Gymna-
sium of Neu-Brandenburg. He enjoys con-
siderable reputation as a song writer.
NAUE, JOHANN FRIEDRICH, born at
Halle, Nov. 17, 1787, died there. May 19,
1858. Church composer, pupil of Tiii-k,
whom he succeeded in 1813 as music di-
rector at the university, where he exerted
himself for the elevation of vocal church
music. He sacrificed his entire fortune in
collecting a precious musical library, after-
wards bought in part for the royal library
in Berlin, and in bringing about, in 1829,
the great music festival at Halle, which was
conducted by Sjiontini. Works : Versuch
eiuer musikalischen Agenda, etc. (Hallo,
1818) ; Allgemeines evangelisches Choral-
buch (ib., 1829) ; Cantato zur Gediicht-
nissfeiereiUcr Verstorbener ; Motets, hymns,
responses ; INIarcho triomi)hale, for chorus
and wind instruments ; Pianoforte music,
etc. — Mendel ; Eiemauu.
NAUMANN, E:\nL, born in Beriin, Sept.
8, 1827, died in Dres-
den, June 23, 1888.
Dramatic coin230ser
and distinguished
■«Titer on music,
gi-andson of Johaun
Gottlieb Navmiann,
first instructed at
Bonn by Johanna
Matthieu and by
Franz Anton Ries,
then at Frankfort pupil of Schnyder von
Wartenseo, and at the Conservatorium in
Leipsic of Mendelssohn, finally at Frankfort
of Moser. In 185G bo was called to Berlin
as music director at the Hofkircho, and in
1869 appointed royal professor, isrojjosed
by the Academy of Ai-ts. In 1873 he set-
tled at Dresden, where soon after he founded
a singing society. Works : Judith, ojaera ;
Die Miihleuhexe, Singspiel ; Loreley, opera,
Berlin, 1888 ; Christus der Friedensbote,
oratorio, Dresden, 1848 ; Die Zerstorung
Jcrusalems, cantata ; Dank- und Jiibelcan-
tate, BerUn, 18GG ; Solemn mass ; Psalms,
and other chui-ch music ; Symphonies ; Pi-
anoforte music and songs. Among his writ-
ings, "Die Tonkunst in der Culturge-
schichte " (Beriin, 18G9-70) takes the high-
est rank. — Mendel ; Riemann.
NAUMAN]^
NAUIVIANN, ERNST (CARL), born at
Freiberg, Saxony, Aug. 15, 1832, still liv-
ing, 1890. Instrumental composer, grand-
son of Joliann Gottlieb Naumanu, pu^nl of
Hauptmaun, Richter, Wenzel and Langer,
at Leipsic, and of Johann Schneider at Dres-
den ; became music director at the univer-
sity and city organist at Jena in ISGO, and
professor in 1877. Works : 2 quintets for
strings, op. G, 13 ; Quartet for do., op. 9 ;
Trio for pianoforte and strings, op. 7 ;
Serenade for string quintet, flute, oboe,
bassoon, and born ; Sonata for viola, op. 1 ;
etc. — Mendel ; Riemann.
NAUIIANN, JOHANN GOTTLIEB, born
at Blase witz, near Dresden, Ajnil 17, 1741,
died in Dresden, Oct. 23, 1801. Dramatic
composer, jjupil in Dresden at tlio Ki-euz-
scbule, -wlience a Swedish musician, named
Weestrom, took Lim about 1757 to Italy.
After a short time in Hamburg and Padua,
bad treatment compelled him to leave the
Swede, and he became a pupil of Tartini.
After three years in Padua he visited Najjles,
Rome, Bologna, where he studied under
Padre Martini, and Venice. Returning to
Dresden in 17G3, he became court composer
of sacred music. He
again travelled in Italy,
producing operas, and yi - v- -
on his return, having /^^
declined an invitation to Berlin from Fred-
erick the Great, was appointed in 177G, by
the Elector, Kajoellmeistcr, and in 1786
Oberkapellmeister. Hummel was his pupil.
Although very popular in his time and a
good musician, he seems to have had no
genius, and is now almost forgotten.
Works — Operas : AchOlo in Seiro, Palermo,
17C7 ; Alessandro nello Indie, Venice, 17C8 ;
La clemeuza di Tito, Dresden, 17G9 ; Lo
uozze disturbate, Solimanno, Venice, 1772 ;
Armida, Padua, 1772 ; L' isola disabita, Ve-
nice, 1773 ; Ifiermestra, ib. ; R villauo gelo-
so, Dresden ; L' ipocondriaco, ib. ; Elisa,
ib.; Osiride ; Tutto per amore ; Amphion,
Stockholm, 177G ; Cora, Gustave Wasa, ib.,
1780 ; Le reggie d' Imeneo, Dresden ; Or-
ll\ '=rUr&>-i'^-fAy
pheus, Danish opera, Copenhagen, 1785;
La sorte di Medea, ballet, Berlin, 1788 ;
La dama soldato, Dres-
den, 1791 ; Amor giusti-
ficato, ib., 1792 ; Prote-
silao, Berlin, 1793 ; An-
dromeda ; Aci e Galatea,
Dresden, 1801. Orato-
rios : La Passione di
Giesu Cristo ; Isacco
figura del Redentore ;
Zeit und Ewigkeit ; San-
ta Elena ; Joseph reconnu par ses frfjres ;
Unsere Brilder ; II figlio prodigo ; La Pas-
sione di Giesu Cristo, with new music ; Da-
vidde in Terebinto ; Betulia liberata ; La
morte d' Abele. Pater uoster, words by
Klopstock ; 20 masses ; Te Deums ; Psalms ;
Motets ; Hymns ; Litanies ; Cantatas ;
Elegy, Le tombeau de Klopstock ; 18 sym-
phonies ; Pianoforte concerto ; Pianoforte
sonatas ; Violin duets ; Trios for isianoforto
and violins ; Quartets for piano and violins ;
German, Italian and French songs. — .iUlgem.
d. Biog., xxiii. 30G ; Bitter, Gesch. des
Oratoriums, 47G ; Fetis ; Gerber ; Mendel ;
Riemann ; Schilling ; Meissner, Bruch-
stilcke aus Naumann's Lebensgeschichte
(Prague, 1803-4) ; Rochlitz, Fiir Frcundo
der Toukuust, iii. 3 ; Schubert, Lebens-
geschichte Naumann's (Dresden, 1844).
NAVOIGILLE, GUILLAUME JLXIEN,
called Navoigillo the elder, born at Givet
(Ai'dennes), about 1745, died in Paris, No-
vember, 1811. Violinist, studied music in
Paris, where a noble Venetian took him un-
der his patronage, and finally adojsted him.
For several years he held positions as vio-
linist or chef d'orchestre at various theatres,
and in 180G entered the orchestra of the
King of Holland, after whose abdication ho
returned to Paris. Works : G symphonies
for orchestra ; 6 trios for violins and violon-
cello, oj). 1 ; do., op. 10 ; G duos for violins.
NAVOIGILLE
op. 2 ; 6 sonatas for 2 violins and bass ; 6
solos for violin, op. 4 ; Square dances and
waltzes ; Eomances. — Fotis.
NAVOIGILLE, HUBERT JULIEN,
called Navoigille the younger, born at Givet
in 1749, died (?). Violinist, brother of the
preceding, whose associate he usually was
iu theatre orchestras, and with whom he
went to the Hague. Works : G symphonies
for orchestra ; 12 quartets for strings, op.
1, 3 ; Quintet for do. ; Sonatas for violin.
— F6tis.
NAWRA.TIL, KABL, born in Vienna,
Oct. 7, 183G, stiU living, 1890. Instrumen-
tal and vocal composer, pupil of Nottebohm
in counterpoint ; studied law and entered
the government service, then practised as a
lawyer, and finally became a railway official.
Works : Psalm XXX., for soprano solo,
chorus, and orchestra ; Mass ; Overture ;
Quintet for pianoforte and strings, iu D ma-
jor ; Other chamber music, isiauoforte pieces,
and songs.
NAYLOR, JOHN, born at Stanningley,
near Leeds, England,
June 8, 1838, still hv-
ing, 1890. Organist,
pupil of Robert Senior
Burton, became organ-
ist at Scarborough in
18.50, and at York Min-
ster iu 1883. Mus.
Bac, Oxford, 1863;
Mus. Doc, ib., 1872. Works : Jeremiah,
oratorio, York, 1883 ; Church services ; An-
thems ; Part-songs, and songs.
NEATE, CHARLES, born in Loudon,
March 28, 1784, died in Brighton, March
30, 1877. Pianist, pupil of William Sharp
and John Field ; studied also composition
under Woelfl and counterpoint under Win-
ter in Munich. He first appeared iu pub-
lic as a pianist in Loudon in 1800 ; was
one of the original members of the Phil-
harmonic Society, and for many years its
director. He visited Vienna in 1815, and
for some months enjoyed the friendship of
Beethoven. Works : Trio for jjianoforte
and strings ; Sonatas, rondos, fantasias and
variations, for isianoforte. — Grove ; Fetis ;
do., Supplement, ii. 2G5 ; Mendel, Ergiiuz.,
298.
NEEB, HEINRICH, born at Lich, Hesse,
in 1807, died at Frankfort, Jan. 18, 1878.
Dramatic composer, jjupil of Peter Miiller
at Friedberg, and of Aloys Schmitt at
Frankfort, where ho settled in 1831 to
teach music. He conducted there the sing-
ing societies Germania, Neeb's Quartett,
Teutonia, and Neeb's Miiunerchor. Works
— Ofjeras : Domenico Baldi ; Der Cid ; Die
schwarzcn Jiigcr ; Rudolf von Habsburg.
Das deutsche Lied und sein Sanger, canta-
ta ; String quartets ; Pianoforte pieces ; Bal-
laden and songs. — Riemann.
NEEFE, CHRISTIAN GOTTLOB, born
at Chemnitz, Saxony, Feb. 5, 1748, died at
Dessau, Jan. 2G, 1798. Dramatic compo.ser,
son of a poor tailor, obtained through his
fine soprano voice a position as choir-boy in
his native place. Later he studied law at the
University of Leipsie, and music under J.
A. HOler. The success of some of his com-
positions induced him to give up law for
music, and iu 187G-79 he was oijeratic con-
ductor of Seller's travelling theatre company,
and then of the Grossmann-Hellmuth com-
pany at Bonn. Here he became court or-
ganist, and in 1782 succeeded vau der Eeden
as court music director and as the instruc-
tor of Beethoven. The theatre was given
up in 1784, and his salary was cut down,
but in 1788 a new court theatre was estab-
lished and gave him cmijloyment. In 1794
the war stopped this theatre also, and not
untU 179G did he obtain an engagement as
conductor at Dessau. Works — Operettas :
Die Apotheke, Amor's Guckkasten, and airs
for Hiller's Dorfbarbier, Leipsie, 1772 ; Die
Einspriiche, ib., 1773 ; Heinrich und Lj'da,
ib., 1777 ; Zamiro und Azor, 1778 ; Adel-
heid von Vcltheim, Bonn, 1781 ; Die ncuen
Gutsherren, 1781 ; Der dumme Gartner,
oder die beiden Antone ; IMusic to the mo-
nodrama, Sophonisbe ; Pater noster ; Ode
by Klopstock for four voices and orchestra ;
NEllMT
2 symphonies ; Concerto for pianoforte, vio-
lin, and orchestra ; 2-1: sonatas for piano-
forte, with and without viohn ; Other pi-
anoforte music and songs ; Arrangements
and translations of operas. — Allgem. d.
Biog., xxiii. 359 ; Mendel ; Riemaun ; Schil-
ling ; Gerber ; Fetis ; Allgem. mus. Zeitg.,
i. 241, 257, 273, 360 ; Thayer, Ludwig von
Beethoven's Leben, i. 81, 117.
NEHMT MEINEN DANK, aria for so-
lirano with orchestra in G, by Mozart, com-
posed for Mme Lange, in Vienna, April 10,
1782. Breitkopf & Hlirtel, Mozart Werke,
Serie vi.. No. 23. — KOchel, Verzeichniss,
No. 383 ; Andre, No. 81 ; Jahu, Mozart, iii.
274.
NEIGE, LA, ou le nouvel Eginhard,
opera-comiqiio in four acts, text by Scribe
and Germain Delavigne, music by Auber,
first represented at the Theatre Feydeau,
Paris, Oct. 8, 1823. It was given in Lon-
don as " The Frozen Lake," at Covent Gar-
den Theatre, Nov. 2G, 1824 PubUshed by
Schott (Mainz, 1825) ; and by Simrock
(Bonn, 1825).— Berliner mus. Zeitg., ii. 330,
338 ; iii. 149.
NEITHAEDT, AUGUST HEINRICH,
born at Schleiz, Aug. 10, 1793, died in Ber-
lin, April 18, 18G1. Pupil of Brunow and
Ebhardt ; then served aa a volunteer in the
wars of 1813-15 ; was bandmaster of the
Garde-Schiitzen Battalion in 181G-22, and
of the Kaiser Franz Grenadiers in 1822-40.
He received the title of royal music du-ec-
tor in 1839, and in 1843 was entrusted with
tlie formation of a regular choir for the
Berlin Cathedral, of which he was appointed
director in 1845. He visited St. Peters-
burg and Rome for study, raised his choir
to a high state of efficiency, and gave con-
certs with it in London in 1850. Works :
Julietta, die schOne Dalmatierin, opera,
KOnigsberg, 1834 ; Horn duets, trios, and
quartets ; Marches and other military mu-
sic ; Sonatas, variations, waltzes, and other
pieces for pianoforte ; Quintets for flute,
violin, and bass : Quartets for men's voices ; ,
Many songs, including Ich bin eiu Preusse. |
He edited Musica Sacra (Berlin, 8 vols.)
and Chorale zum Kirchengebrauch (ib.).
— Mendel ; Schilling, Supplement, 322 ;
Riemann ; Futis.
NEL COR Pit! NON MI SENTO, six
variations for the pianoforte, in G, by Beet-
hoven, on a theme from Paisiello's La 3Ioli-
nara, composed in 1795, and published by
Diabelli (Vienna, 1795, and by Traeg (Vi-
enna, 1795). Breitkopf & Hiirtel, Beetho-
ven Werke, Serie 17, No. 7. The theme is
known in English as " Hope told a flatter-
ing tale." — Thayer, Verzeichniss, 17 ; Nohl,
Beethoven, iii. 58, 123.
NENNA (NENNO), POMPONIO, born at
Bari, Najjles, about 15G0. He was of noble
birth ; in 1G13 he was crowned with laurel
in Naples. Although many editions of his
madrigals were published, they are singu-
larly rare. Works : Madrigals in collections
published in 1585 and 1594 ; Madrigali a
cinque voci, 8 books (Venice, 1G09-24) ;
Madrigali a quattro voci (ib., 1631). — Fetis ;
Mendel ; Riemaun.
NERO, German opera, text by Feustking,
music by Handel, first re2)rosented in Ham-
burg, Feb. 25, 1705. Its full title was " Die
durch Blut uud Mord erlangte Liebe, odor
Nero." Johann Mathesou sang the part of
Nero, this being the last ©ijera in which
he a^jpeared. The work contained at least
seventy-five airs, but the entire score is lost.
— Rockstro, Handel, 40.
NERO, German opera in four acts, text
by Jules Barbier, music by Rubinstein, first
represented at the Stadttheater, Hamburg,
Nov. 1, 1879. Original cast :
Nero (T.) Herr Winekelmann.
Viudex (Bar.) Herr Kriickel.
Saccus (B.) Herr Landau.
Crysa (S.) Mme Sucher.
Epicharis (C.) Mile Borree.
Poppoea (S. ) Mme Prochaska.
First represented in St. Petersburg, Feb.
10, 1884 ; in New York, in English, by the
American Opera Company, March 14, 1887.
Published by Scuff (Leipsic, 1878). Other
KERUDA
operas of the same title, in Italian : text by
Maria Piccioli, music by Carlo Pallavicino,
Venice, 1G79 ; music by Carlo Porsile, Na-
ples, 1686 ; Nerone fatto Cesare, text by
Matteo Noris, music by Perti, Venice, 1G93 ;
Nerone, music by Antonio Gianettini, Mo-
dena, about 1710 ; text by Piovene, music
by Giovanni Maria Orlandini, Venice, 1721 ;
music by Vignati, about 1725 ; music by
Egidio Komoaldo Duni, Eomc, 1735 ; La
morte di Nerone, by Angelo Tarchi, Venice,
1792 ; and in German by Reissiger, Municb,
1822. — Clement et Larousse, 929 ; La Mai-a,
Mus. Studienkopf, iii. 217 ; Mus. Woclien-
blatt (1879), 544; Signale (1879), 929;
(1884), 273; Krebbiel, Review (1886-87),
152.
NERUDA, JOHANN GEORG, bom at
Rossicz, Bohemia, in 1706, died in Dresden
in 1780. He played in the orchestra of a
theatre, travelled, and from 1750 until his
death was a member of the Elector's chapel
in Dresden. His two sons, Ludwig and
Anton, were also attached to the Dresden
chapel. Works: 18 symphonies; 4 violin con-
certos ; 30 trios ; 6 solos for \'iolin. — Wurz-
bach ; Mendel ; Schilling ; Gerber ; Fctis.
NESSLER, \1CT0R ERNST, bom at
Baldenheim, near
Schlettstadt, Alsace,
Jan. 28, 1841, still hv-
ing, 1890. Dramatic
composer, pupil of
Thcophil Stem at
Strasburg, where he
studied theology, then
finished his musical
education at Leipsic,
where he conducted
several singing societies, and in 1870 be-
came chorus master at the Stadttheater ; in
1879 music director at the Carolatheater.
He has lived at Strasburg for several years.
Works — Operas : Dornroschens Brautfahi't,
Leipsic, 1867; Irmingard, ib., 1876; Der
Rattenfiinger von Hameln, ib., 1879 ; Der
wide Jiiger, ib., 1881 ; Der Trompeler von
Siikkingen, ib., 1884. Operettas : Fleurette,
Strasbui'g, 1864 ; Die Hochzeitsreise, Leip-
sic, 1867 ; Nachtwiichter und Student, ib.,
1868; Am Alexandertag, ib., 1869. Der
Blumen Rache, for chorus, soli, and orches-
tra ; Siingers FriihUngsgruss, double chorus
for male voices ; Voa der Wiege bis zum
Grabe, cycle for chorus, soU, and i^iano-
forte ; Quartets for male voices ; Songs.
— 3Ius. Wocheublatt, xv. 559 ; Riemann.
NESWADBA, JOS (properly Hamacek),
born at Vj'skef, Bohemia, Jan. 19, 1824,
died at Darmstadt, June 20, 1876. He
was Kapellmeister, successively, at the the-
atres of Karlsbad (1848), Olmiitz, Bri'mn,
Gratz, at the National Theatre in Prague
(1857-58), at the Italian Opera in Berlin
(1859-60), at the Stadttheater in Hamburg
(1861-63), and in 1864 became Hof-KapeU-
meister at Darmstadt. Works : Music to
several ballets, performed at Darmstadt ;
Overtures, and other pieces for orchestra ;
Bohemian songs, and choruses. — Mendel ;
Slovnik naMhnf (Prague, 1859), v. 790;
Wurzbach.
NETZER, JOSEF, bom at Zams, Tyrol,
March 18, 1808, died at Gratz, May 28, 1864.
Dramatic composer, self-taught on the piano-
forte and organ, afterwards at Innsbruck pu-
pil of Martin GoUer on the pianoforte, and
of Kathi'ein on the violin. He then went to
Vienna, where he became one of the favour-
ite pianoforte teachers, and studied comjio-
sition under Gilnsbacher, and counterpoint
under Sechter. In 1839 he visited Italy,
and in 1842 made a tour through Germany
to produce his opera Mara, which had been
brought out with great success in Vienna,
in 1841. At Leipsic he assisted Lortzing
as Kapellmeister at the Stadttheater and
conductor of the Euteii^e Concerts in 1844-
45, then was for one year Kapellmeister of
the Theater an der Wien in Vienna, where
he resided three years. After a visit at
Meldenau, near Leipsic, in 1848, he went,
in 1849, as Kapellmeister to Mainz, and,
having again lived at Leipsic, accepted, in
1853, an engagement as Kapellmeister of
the theatre at Gratz. Works — Operas : Die
12
^EUBAUEli
Belagerung von Gothenburg ; Mara, given in
Vienna, 1841 ; Die Eroberung von Granada,
ib., 1844 ; Die seltene Hocbzeit, ib., 1846 ;
Die Konigin von Castilien. Overtures, sym-
phonies, string quartets. More than 100
songs. — Heiudl, Gallerie, etc., ii. 54 ; Kess-
ler, Jos. Nctzer, etc. (Gratz, 18G4) ; "Wurzbacb.
NEUBAUEE, FEANZ CHEISTIAN, born
at Horzin, Bohemia, in 17G0, died at Biicke-
burg, Oct. 11, 1795. Violinist, pupil of a
village school teacher, went early to Prague
and Vienna, where he made the acquaint-
ance of Mozart, Haydn, and Wranitzky ;
then led a wandering, dissipated life, giving
concerts in many German cities, and com-
posing. In 1780 he became Kapellmeister
to Prince Weilburg, but, as the French
Eevolution soon caused the disbanding of
the orchestra, he went to Minden, and later
to Biickebui'g, where he was at first court
composer, and afterwards successor of J. C.
F. Bach as Kapellmeister. His early death
was partly due to intemperance. Works :
Ferdinand und Yoriko, operetta, given in
Vienna about 1786 ; Cantatas ; 12 sym-
phonies ; 10 string quartets ; String duets
and trios ; Violin sonatas ; Violoncello,
flute, and pianoforte concertos ; Flute duets
and trios ; Sonata for pianoforte, violin,
and bass ; Valuations for pianoforte and
violin ; Songs. — Dlabacz ; Fetis ; Gerber ;
Mendel ; Eiehl, Mus. CharakterkOpfe, i.
253 ; Schilling ; Schlichtegi-oU, Nekrolog
auf des Jahr, 1795 (Gotha), 395 ; Wurzbach.
NEUENDOEFF, ADOLPH, born in
Hamburg, Germany, June 13, 1843, still
living, 1890. When twelve years old he
was a fair pianist ; in 1855, his father hav-
ing removed to New York, he received in-
straction there on the violin from Joseph
Weinlich. When sixteen he became sec-
ond violinist, and in 1859 first violinist, of
the old Stadt Theatre, New York, and made
his debut as a pianist. In 1860-61 he was
in South America, and on his return to
New York studied theory and composition
imder Carl Anschtltz, whom he succeeded
in 1864, after a short residence in Milwau-
kee, as conductor of the German opera. In
1867 he was conductor of the New Stadt
Theatre, and is said to , > -~; '■--
have produced, in three
successive seasons,
forty comic operas ;
in 1870-71 he brought
from Europe another
comjjany, with which
he gave more than
thirty German operas
in seven months, Lo-
hengTin being then sung for the first time
in America. In 1872 he went to Europe,
and brought back with him Theodor Wach-
tel, and gave, in partnership with Carl
Eosa, a season of Italian opera at the new
Academy of Music in New York, with Pa-
repa, Adelaide Phillipps, Wachtel, and Sant-
ley as singers. He also established the
Germania Theatre in New York, and served
as conductor of a choral society, and organ-
ist of one of the city churches. In 1875 he
brought Wachtel to America again, and
with Mme Papi^enheim gave German opera
in the Academy of Music. In 1876 he con-
ducted the Beethoven Centennial Concerts
in New York, and attended the first Wagner
Festival at Baireuth as correspondent of
the " New-Yorker Staats Zeitung ; " and in
the winter of 1877 produced, at the Acad-
emy of Music, Der fliegende holliinder,
Tannhiiuser, and Die Walkiire. In 1878 he
succeeded Theodore Thomas as conductor
of the New York Philharmonic Society.
Financially ruined in 1883 by the failure of
the Germania Theatre, he has since con-
ducted operas and concerts all over the
United States, and in 1887-88 was con-
ductor of the concerts given by Josef Hoff-
mann on his first tour in America. Works :
The Eat Charmer of Hamelin, comic ojiera
in four acts, 1880 ; Don Quixote, comic
opera in four acts, 1882 ; Prince Woodruff,
romantic comic opera in three acts, 1887 ;
Symphony No. 1, 1878 ; Symphony No. 2,
1880 ; Several smaller orchestral works ;
Songs, male quartets, etc.
NELTKOMM
NEUKOMjVI, SIGIS:MUND, Eltter VON,
bom at Salzburg, July 10, 1778, died iu
Paris, April 3, 1858.
Pupil of the organist
W e i s s a u e r , whose
place he often filled ;
then studied compo-
sition under llichael
Haydn, and at the
age of fifteen became
university organist.
He leai'ned sevei-al
other instruments,
and played the flute
in concerts. When
eighteen years old he
was made Correpetitor of the opera, but
after finishing his university studies left
Salzburg in 1798 for Vienna. He became
the pupil of Joseph Haydn, who treated him
like a son. In 1807 he went to Stockholm,
where he was elected member of the Acad-
emy ; then to St. Petersburg, and became
there conductor of the German opera. At
the time of Haydn's death he returned to
Vienna, and in 1809 went to Paris, where
he was intimate with Grutry, Cherubini,
and other celebrities. He succeeded Dus-
sek as pianist to Talleyrand, whom lie ac-
companied to the Congress of Vicuna,
where he was commissioned to compose a
l{equiem in memory of Louis XVI., and
where Louis XVIH. conferred iipon him
the Legion of Honour- and a title of nobil-
ity. 'With Talleyrand he retm-ued to Paris,
but in 1816 he went in the suite of the
Due de Luxembourg to Brazil and was
a^ipointed coui't du-ector by the Emperor
Dom Pedro, with whom he went to Lisbon
when the revolution of 1821 comjieUed him
to leave Rio Janeiro. Then he returned
to Talleyrand, but in 1826 travelled ia
Italy, in 1827 in Holland and Belgium, and
in 1829 in England and Scotland. He ac-
companied Talleyrand on his embassy to
England iu 1830 ; in 1832 visited Germa-
ny, in 1833-31 Italy, and in 1834-35 Sou-
thern France and Algiers. Illness alone
prevented him from embarking for North
America iu 1836, and the last years of his
Ufe were spent between London and Paris,
with brief visits to other cities. For some
time he was blind, but a successful opera-
tion restored his sight. In spite of the dis-
tractions of travelling he composed indus-
triously, but, fluent and interesting as his
works are, they are now almost forgotten.
He cultivated the more serious kind of mu-
sic, and attempted to revive the style of
Palestrina. His refinement and elevated
character won him many friends. Works :
Alexander am Indus, ojiera ; nine other
German operas. Oratorios : Das Gesetz
des alten Bundes (in English, Mount Sinai) ;
David ; Grableguug, Auferstehung und
Himmclfahi-tChristi; Pfiugsten. Cantatas:
Der Ostermorgen ; Circe ; Music to Schil-
ler's Braut von Messina ; 15 masses ; 5 Te
Deums ; 5 chui'ch cantatas ; Morning and
evening service ; Many psalms ; 3 Italian
dramatic scenes ; About two hundred
songs ; Duets, terzets, and choruses ; Sj'm-
phony ; 5 overtures ; 7 orchestral fantasias ;
57 organ pieces ; Concerto, sonatas, and
other music for pianoforte ; Chamber and
mUitary music, altogether more than 1,000
comjwsitions. — Wurzbach ; Mendel ; Schil-
ling ; Eiemann ; Fetis ; Rochlitz, Fiir
Freunde der Tonkunst, iii. 226 ; Schebest,
Aus dem Leben einer Kilnstlerin (Stutt-
gart, 1857) ; niustr. Zeitg. (1858), i. 394.
NEUPERT, (CARL FREDERIK) ED-
MUND, born at Christiania, Norway, April
1, 1842, died in New York, June 22, 1888.
Pianist, pupil of his father until 1856, then
iu Berlin of KuUak and Kiel. In 1868 he
became teacher of pianoforte at the Copen-
hagan Conservatoi-y, and in 1880 professor
at the Imperial Conservatory, Moscow, but
left the latter on the death of Nicolas Ru-
binstein (1881) and after a visit to Norway
removed in 1882 to New York, where he de-
voted himself to teaching and concert play-
ing. Works : Andante fantastique ; Before
the Battle; Funeral Marcli; 6 Norwegian Im-
provisations ; Danse orientale ; 4 Romances ;
NEUSIEDLER
4 Valses ; 3 Barcarolles ; 3 Ballades ; 3 Polo-
naises ; 124 Concert etudes. He published
also : Piano School (1880), and more than
700 technical studies and exercises.
NEUSIEDLER (Newsidler), M E L -
CmOR, born at
Augsburg in the
first half of the
ICth century,
died in Nurem-
berg in 1590.
Lutenist, lived in
Italy in 156G, and
afterwards in
Nuremberg. He
did much to im-
l>rove the lute, and published two books of
lute music (Venice, 15GC), which were re-
printed by P. Phaliise (Louvain, 1571) and
by Tobin (Strasburg). He published also
Deutsch Lautenbuch, darinnen kunstreiche
Motetteu, etc. (1574, 2d ed., 1596 ; in Ital-
ian, n primo libro in tabulatura di liuto,
1576) ; and Sechs Motetteu von Josquin in
Lautentabulatur heraus (1587).
NEVER WILL MY HEART REFUSE
THEE. See Ich will dir mein Herze schen-
ken.
NEVIN, ETHELBERT WOODBRIDGE,
born, of American jjarentage, in Pittsburgh,
Pennsylvania, Nov. 25, 1862, still living,
1890. Pianist, pupil in Pittsburgh of von
der Heide, and of William Guenther ; and
in 1877-78 studied singing in Dresden un-
der von Boehme. In 1880-81 he studied
counterpoint under S. Austen Pearce, of
New York, and then in Boston, for two
years, the pianoforte under B. J. Lang, and
harmony under Stephen A. Emery. In 1884
he went to Europe and studied, in Berlin,
the pianoforte and theory under Karl Klind-
worth, von Biilow, and Carl Bial. Works :
Suite for pianoforte, op. 2 ; Waltzes, and
other pianoforte music ; Songs.
NIBELUNGEN. See Ring des Nibe-
lungen.
NIBELUNGEN, eleven Charakterstucke
for orchestra by Eduard Lassen, op. 47,
written for Hebbel's drama of Die Nibe-
lungen (1862), first performed in 1875.
Published in Munich.
NICCOLINI (Nicolini), GIUSEPPE, born
in Piacenza in 1771 (April, 1763 ?), died
there, Dec. 18, 1842. Dramatic composer,
son and pupil of Omobono Niccolini, ma-
estro di cappella at Piacenza ; he studied
singing under Macedone, and at the Con-
servatorio di San Onofrio in Naples was the
pupil of Insanguine, called Mouopoli. His
first opera was performed in 1793, and he
wrote more than fifty others, which were
rei^resented with great success in the prin-
cipal cities of Italy. After becoming ma-
estro di cappella of the cathedral at Pia-
cenza in 1819, he composed chiefly church
music. Works— Operas : La famiglia stra-
vagante, Parma, 1792 ; II principe Spazza-
camino, I molinari, Genoa, 1794 ; Le nozze
campestri, Milan, 1794 ; L' Artaserse, Ven-
ice, 1795 ; La donna innamorata, ib., 1796 ;
Alzira, Genoa, 1797 ; La clemenza di Tito,
Leghorn, 1798 ; I due fi-atelli ridicoli,
Rome, 1798; II Bruto, Genoa, 1799; Gli
Scitti, II trioufo del bel sesso, Milan, 1799 ;
L'iudativo, Genoa, 1800 ; I baccanali di
Roma, Milan, 1801 ; I Manlj, ib., 1802 ; La
selvaggia, Rome, 1803 ; Fedra, ossia il ri-
torno di Teseo, ib., 1804 ; II geloso siuce-
rato, Geribea e Telamone, Gl' incostauti
uemici delle donne, Le nozze inaspettate,
Najsles, 1805 ; Abenhamet e Zoraide, Mil-
an, 1806 ; Trajano in Dacia, Rome, 1807 ;
Le due gemelle, ib., 1808 ; Coriolauo, Milan,
1809 ; Dario Istaspe, Turin, 1810 ; Angeli-
ca e Medoro, ib., 1811 ; Abradame e Dir-
cea, Milan, 1811 ; Quinto Fabio, Le nozze
dei Morlacchi, Vienna, 1811 ; La feudataria,
Piacenza, 1812 ; La casa del astrologo ; Mi-
tridate ; L' ira d' Achille ; Balduino ; Carlo
Magno ; II conte di Lennos ; Annibale in
Bitinia ; Cesare nelle Gallic ; Adolfo ; La
presa di Granata ; L' eroe di Lancastro ;
Aspasia ed Agide ; II Teuzzone ; Ilda d'
Avenelle, Bergamo, 1828 ; La conquista di
Malacca ; Witikind ; II trionfo di Cesare.
Five oratorios ; 30 masses ; 2 requiems ; 100
NICCOLINI
psalms ; Cantatas ; Pianoforte sonatas ; Quar-
tets for different instruments ; Canzonets,
and other compositions. — Fetis ; Mendel ;
Schilling.
NICCOLINI, LOUIS, born at Pistoja in
17G9, died at Leghorn in 1829. PupU of
llutiui at Florence, then of Sala, Tritto, and
Paisiello at the Conservatorio della Pieta
dei Turchini in Naples. In 1789 he was
appointed maestro di cappella of the cathe-
dral at Leghorn. Works : Several baUets
for the Teatro San Carlo, Naples ; Masses,
Utanies, and many other sacred composi-
tions.— Fetis.
NICCOLO DE' LAPI, ossia 1' assedio di
Firenze, Italian opera seria in four acts,
text bj' Pinto, music by Pacini, first ref)re-
sented in Florence, Oct. 29, 1873. It was
sung by Mme Ronzi-Checchi, Augusti, and
Nierly. Same text, music by Francesco
Schira, London, March 7, 1SG3 ; by Gio-
vanni Rossi, Ancona, 1804, Parma, 18GG ;
by Gammieri, St. Petersburg, Dec. 6, 1877 ;
and by Terziaui, Rome, Februaiy, 1883.
NICHEL:\L\NN, CHRISTOPH, bom at
Treuenbrietzen, Brandenburg, Aug. 13, 1717,
died in Berlin, July 20, 17G2. Instrumental
and vocal composer, and writer on music ;
pupil of Bach, and his oldest sou, at the
Thomasschule in Leijisic, and of Quautz in
Berlin, having in the meanwhile lived in
Hamburg. In 1741-5G he was pianist to
Frederick the Great. He is now chiefly
known by his book Die Melodie nach ihrem
Wesen, etc. (Dautzic, 1755), which he de-
fended successfully against the attacks of
a pseudonymous Diinkelfeind. Works : H
Boguo di Scipione, serenade, Berlin, 17i6 ;
Galatea, pastorale (with Frederick the Great,
Grauu, and Quantz), ib. ; Pianoforte music,
and songs for the collections of Mai-pm-g
(175G), Voss (1758), Lange (1758), and Bu-n-
stiel (17G0).— Fetis ; Gerber ; Mendel ;
Schilling.
NIC0D£, jean LOUIS, born at Jerczik,
near Posen, Aug. 12, 1853, still living, 1890.
Pianist, first instructed in Berlin by his ,
father, then pupil of Hartkiis, and at Kul- 1
lak's Academic of KuUak on the pianoforte,
and of Wiierst in theory ; finally, of Iviel in
counterpoint and com-
position. Having for
several years taught in
Berlin, where he re-
peatedly played in pub-
lic, he made a concert
tour with Madame Ai--
tut through Galicia and
Roumania in 1878, and
became in 1879 in-
structor at the Conser-
vatorium in Dresden. Works : Maria Stu-
ai't, symphonic poem ; Symphonic variations
on an original theme ; Chamber music ; So-
natas for pianoforte, etc. — Riemann.
NICOLA, IvARL, born at Mannheim in
1797, died at Hanover, June, 1875. Vio-
linist, pupil of Wendling and in composi-
tion of Gottfried Weber ; member of the
court orchestra at Mannheim, Stuttgart
(1821-23), and finally at Hanover. Works :
Overture to the drama Anna Boleyn ; Ada-
gio and rondo for violin and orchestra ; 2
quartets for strings ; Sonatas for violin and
pianoforte ; About 7 collections of German
songs. — Fetis ; Schilling.
NICOLAI, (CARL) OTTO (EHREN-
FRIED), born at
Kiinigsberg, June 9,
1810, died in Berhn,
May 11, 1849. Dra-
matic composer, pu-
pil on the pianoforte
of his father, a sing-
ing teacher ; was so
unhappy a t home
that he ran away at
the age of sixteen. He was befriended by
the Justizrath Adler, of Stargard, who
helped him in his studies, and in 1827 sent
him to Berlin, where he studied under Zelter
and Klein. In 1833 the Chevalier Buusen
sent him to Rome, as organist to the chapel
of the Prussian embassy, where he studied,
under Baini, the great Italian masters, es-
pecially the older ones. Late in 1837 be
NICOLAI
went to Vienna, where he was made Ka-
pellmeister and singing master at the court
opera. In October, 1838, he returned to
Rome, and began his career as a dramatic
composer, producing several operas in
various Italian cities with much suc-
cess. In 1841 he retui-ned once more
to Vienna, to become first Kapellmeister
of the opera, which post he held to gen-
eral admiration until Easter, 1847, hav-
ing produced two operas during hia stay.
lu 1842 he founded the Philharmonic Con-
certs there. The composition of a mass
(1843) dedicated to Friedrich WUhelm IV.,
and of a Festival Overture for chorus and
orchestra on Ein' feste Burg for the Jubilee
of the KOnigsberg University in 1844, got
him a call to Berlin as director of the then
newly organized Domchor, and Kapellmeis-
ter of the opera. Here he finished his Die
lustigeu Weiber von Windsor, decidedly his
best work, which he had begun at Vienna.
It was brought out at Berlin with resound-
ing success, only two mouths before he
died of apoplexy. Excepting this last work,
and his Festival Overture, nothing of his
ever had a very lasting success. He had
a natural gift of bright, graceful melody,
and wrote in excellent style, albeit he nev-
er aimed very high, and was content to
please the taste of the day. Yet much
might have been expected of him, had he
lived longer. He was honorary member of
the Societa CeciHa at Rome, and of the Fi-
larmonici at Bologna. In 1851 the Berlin
Tonkiinstler-Vereiu set up a monument over
his grave in the church-yard of the Doro-
theenstadt. Works — Ojieras : Rosmonda
d' Inghilterra, given in Turin, 1838, in
Trieste, as Eurico H., April 2G, 1839 ; II
Templario, three acts, text by G. M. Marino,
after Scott's "Ivauhoe," Turin, Feb. 11,
1840 ; Odoardo e Gildippe, Turin, 1841 ; II
proscritto, three acts, Milan, March 13,
1842, in German as Die Heimkehr des Ver-
bannteu, Vienna, Feb. 3, 1844 ; Die bisti-
gen Weiber von Windsor, Berlin, March 9,
1849. Mass, dedicated to Friedrich Wil-
helm IV., 1843 ; i^'es^Ouverture, KOnigsberg,
1844 ; Symphony ; Requiem ; Te Deum ; G
Lieder, op. G ; Lieder uud Gesilnge, op. IG ;
Concerto for pianoforte and orchestra, and
JP
other pianoforte music ; Songs and cho-
ruses.— Mendel, Otto Nicolai, Eiue Bio-
graphic (Berhn, 18G8).
NICOLAI, JOHANN GOTTLIEB, born
at Gross-Neuudorf, Saxe-Meiningen, Oct.
15, 1744, died at Zwoll in 1801. Organist
and concert director from 1780 at Zwoll.
Works : Die Wilddiebe, operetta, 1774 ;
Der Geburtstag, do., 1779 ; Jolantha, do.,
1785 ; Symphonic concertaute for violin and
violoncello, op. 7 ; 2 quartets for strings ;
Sonatas for pianoforte ; Soli for flute, etc.
NICOLAI, WILLEM FREDERIK GE-
RARD, boru in Leyden, Holland, Nov. 20,
1829, still living, 1890. Organist and pian-
ist, pupil at the Conservatorium, Leipsic, of
Moscheles, Rietz, Hauptmann, and Richter,
and at Dresden of Johanu Schneider on the
organ. In 1852 he was appointed instruc-
tor at the royal school of music at The
Hague and, after Liibeek's death, became
its director. As conductor of several musi-
cal societies and as editor of the " Cecilia"
(since 1870), he has had much influence
among his countrymen. Works: Bouifa-
cius, oratorio ; Das Lied von der Glocke,
for chorus, soli, and orchestra ; Hansken
van Gelder, for male chorus and do. ; Ter
herinnering, for do. ; Vondel-hymne, for do. ;
Door het woud, for do. ; Thorbeckecantate,
for do. ; De zweedsche nachtegaal, for chil-
dren's voices, mixed chorus, and orchestra ;
Other cantatas ; Duets and songs ; Piano-
forte music. — Mendel ; Riemann ; Viotta.
NICOLO. See Uoxmrd.
NICOU-CHORON, STEPHANE LOUIS,
born in Paris, April 20, 1809, died there,
Sei^t. G, 188G. Church composer, educated
17
XIDECKI
at Choron's Institution Eoyale de Musique,
where Le became professor and, in 1832,
insf)ector of studies. Ou the death of
Chorou, whose son-iu-law he had become,
he assumed the direction of the school,
which, however, abandoned by the govern-
ment, could not support itself. Works :
Oratorios for Cluistmas, Easter, and Pen-
tecost : Several cantatas ; Several solemn
masses with orchestra ; Short masses with
organ ; Many motets and canticles ; Marche
religieusc, for orchestra ; Sacred songs, etc.
— Fotis, Supjjh'meut, ii. 272.
NIDECKI, TOMASZ, born at Waisaw
about 1800, died there in 1852. Dramatic
composer, pui^il of Eisner at the Conserva-
torium in Warsaw ; went to Vienna with a
government stipend, and in 1837 settled at
Poseu, whence he was called, in 1841, to
succeed Kurj)iliski as conductor of the op-
era in Warsaw. Works : Der Wasserfall in
Feenheim, melodrama, Vienna, 1825 ; Przy-
sifga (The oath), lyrical drama ; Masses and
other church music ; Overtures. — Fetis ;
Sowinski.
NIEDEKMEYEE, LOUIS, born at Nyon,
near Geneva, Switzerland, April 27, 1802,
died in Paris, ]March 14, 18G1. Dramatic
composer, puj)il of his father, and in Vi-
enna of Moscheles on the pianoforte, and
of FOrster in composition. In 1819 ho
went to Italy, studied vocal composition
under Fioravanti in Rome, and under Zin-
garclli in Naples, where he became intimate
with Rossini, and brought out his first opera.
He settled in 1821 in Geneva, thence went
to Paris in 1823, but his success falling short
of his desires, he became music-master for
eighteen months of a school in Brussels,
and afterwards returned to Paris. After
failing as a dramatic composer he devoted
himself to raising the school of sacred
music founded by Choron, and with d'Or-
tigue founded the periodical "La Maitrise,"
devoted to sacred music. Works — Operas :
II reo per amore, Naples ; La casa nel bos-
co, Paris, 1828 ; Stradella, ib., 1837 ; Ma-
ria Stuart, ib., 1844 ; La Fronde, ib., 1853.
I Masses, motets, anthems, hymns ; Organ
preludes ; Lo lac, and other melodies, to
words by Lamartine, Victor Hugo, and Des-
champs ; Italian songs ; Pianoforte music ;
Methode d'accompagnement du plain-chant,
with d'Ortigue (Paris, 1855, 2nd ed., 1876) ;
Accompagnement pour orgue des offices
' de l'£gUse (ib., 1861).— Fi'tis ; do.. Supple-
ment, ii. 273 ; Mendel ; Riemann.
I NIEMANN, RUDOLF (FRIEDRICH),
born at Wesselburen, Holstein, Dec. 4, 1838,
still living, 1890. Pianist, first instructed
by his father, an organist, then pupil at the
Conservatorium, Leipsic, of Moscheles,
Plaidy, and Rictz, at the Conservatoire in
Paris, of Marmontel and H;dcvy, and finally
iu Berlin, of Billow and liieL He made
himself iii-st known as a pianist, in 1873-77,
when he accompanied Wilhelmj on his con-
cert tours through Germany, Russia, and
England. For several yeai's he lived at Ham-
burg, and, iu 1883 settled at Wiesbaden,
whence he accompanied Wdhelmj on his
travels, teaching also at the hitter's violin
school, at Biebrich. He has composed chief-
ly genre jjieces for pianoforte, and songs,
besides a sonata for violin. — Riemann.
NIE SOLLST DU jNHCH BEFRAGEN.
See Lohenfjrin.
NIEUWENHUIJSEN, FRED ERIK,
born at Zutpheu, Holland, in 1758, died at
Utrecht, Jan. 29, 1841. Organist, pujjil of
Bleumer, and in 1772-78 of Groeuemaun,
whereupon he became organist of the cathe-
dral at Utrecht. He made also a great repu-
tation as carillonneur. Works : Do zeoslag
by Doggersbank, symphonic jDiece for 2 or-
chestras, Utrecht, 1781 ; La pais d'Alkmaar,
cantata, 1802 ; De toonkunst, do., 1818 ;
Other cantatas ; Dramatic song for the in-
auguration of the theatre at Utrecht, 1796 ;
etc. — Viotta.
NIEUWENHUIJSEN, WILLEM JAN
FREDERIK, born at Utrecht, Jan. 4, 1818,
died there, May 19, 1869. Organist and
writer on music, sou of the preceding,
whom he succeeded in his position at the
cathedral. Works: Overtui'e to Victor
NIIIOUL
Hugo's Hornani ; Leicester, cantata ; Chor-
uses for male voices ; Instrumental music.
— Viotta.
NIHOUL, IVnCHEL, born at Tongres,
Belgium, in 1790, dietl there, November,
18G5. Dramatic composer, pupil of Daus-
soigne-Mehul. In 1834 he accepted a gov-
ernment position, and in 18G0 was post-
master in his native city. Works : Une
soiree a la mode, opera-comique, Liege,
1836 ; Le compromis des nobles, grand op-
era ; Church music, and symphonic compo-
sitions. His son Romain (born at Tongres
in 1821, died there, July 30, 1881), pupil at
the Conservatoire at Liege, was conductor
and director of mtisical societies in Ton-
gres, maitre de chapelle at the cathedral,
and professor in various schools. "Works ;
Le bandit, ojX'ra-comique, Tongres, 18.'')7;
Masses, canticles, choruses, etc. — Fetis, Sup-
plement, ii. 275.
NIMM mCH DIR ZU EIGEN HIN,
tenor aria in C major, with accompaniment
of two flutes, two horns, two oboi da caccia,
strings complete, and continuo, in Johann
Sebastian Bach's cantata, Sie werden aus
Saba Alio kommen.
NINA, ou la folle par amour, comedie in
one act, text by Marsollier, music by Dalay-
rac, first re2)resented at the Italiens, Paris,
May 15, 178G, with Mme Dugazon as Nina.
Nina, believing that her lover, Germeuil,
has been killed in a duel, becomes insane,
but recovers her reason on his safe return.
Given in Leii^sic with Mme Aue as Nina,
in AprU, 1808. It was arranged as a ballet
in three acts by Milon and Persuis, and rep-
resented at the Academie Royale de Mu-
sique, Paris, Nov. 23, 1813, with Mile
Bigottini as Nina and M. Milon as Ger-
meuil. Published by Scblesinger (Berlin
18G0-G7).— Clement et Larousse, 477 ; La-
jarte, ii. 81 ; Clement, Mus. celebres, 194 ;
Jullien, Airs varies, 259 ; Hogarth, ii. 331.
NINA, ossia la pazza per amore, Italian
opera in three acts, text by Lorenzi after
Marsollier, music by Paisiello, first repre-
sented in Naples in May, 1787, with Mme
Celestina Coltellini as Nina and Signor Laz-
zarini as her lover, Lindor. Reduced to
one act by Paiir, and represented at the
King's Theatre, London, May 2G, 1825,
with Pasta as Nina, one of her best achieve-
ments, and Signor Curioni as Lindor. Pub-
lished by Eicordi (Milan), and by Witzen-
dorf (Vienna). Same title, Italian opera
semi-seria, text by Ferretti, music by Cop-
pola, first represented in Rome, May 6,
1854. The part of Nina was written for
Adelina Sjjech, who won much success, and
it was sung with effect also by Mme Alboni.
It was given at the Opera Comique, Paris,
in December, 1839, under the title of Eva,
with words bj' MM. de Leuven and Bruns-
wick, and with Mme Eugenie Garcia as
Nina. An intermede in two acts, Nina et
! Lindor, ou les caprices du coeur, text by
Eichelet, music by Dimi, was given at the
Foire Saint-Laurent, Paris, Sept. 9, 1758.
— Clement et Larousse, 478 ; Queens of
Song, ii. 18 ; Allgem. mus. Zeitg., xxvi. 2G1.
NINI, ALESSANDRO, born at Fnno,
Eomagna, Nov. 1, 1805, died at Bergamo,
Dec. 27, 1880. Dramatic and church com-
poser, pupil of Ripiui, and at Bologna (1827)
of Palmerini. In 1831 he went to St. Peters-
burg, where he established, and until 1837
directed, a school of singing. Some j'ears
after his return to Italy he was made maestro
di cappella at the cathedral of Bergamo.
Works — Operas : Ida della Torre, Venice,
1837 ; La Marescialla d" Ancre, Padua, 1839 ;
Cristina di Svezia, Genoa, 1840 ; Marghe-
rita di York, Venice, 1841 ; Odalisa, Milan,
1842 ; Virginia, Genoa, 1843. Church mu-
sic.— Fetis ; do.. Supplement, ii. 27G.
NIOBE, REGINA DI TEBE (Niobe,
Queen of Thebes), Italian opera, text by
Luigi Orlandi, music by Stefi'ani, first rep-
resented in Munich, January, 1G88. This
was Steffani's last work for the court of
Munich. Same subject, ojiera by Pacini,
Naples, Nov. 19, 182G, written for Pasta,
who won a great triumph in it. Published
by Ricordi (Milan). — Eudhart, Munchener
Oper (1G54-1787), 8L
19
Kill VAN A
NIRVANA, symplionisclies Stimmungs-
bild, for orchestra, by Hans von Biilow, op.
20, performed in Weimar, May 25, 1884.
Published by Heine (Leipsic, 18G0-67);
and by Aibl (Munich, 1884) ; arranged by
Richard Kleinmichel for pianoforte for four
hands.
NISLE, JEAN FET^DfiRIC, born at
Neuwied in 1782, died (?). Virtuoso on
the horn and pianist, pupil of Koch at Ru-
dolstadt, whence he went to Rostock, and
in 1806 joined in Vienna his elder brother
David, with whom he had travelled before
studying at Rudolstadt. The two went into
Hungary, and thence to Trieste, and thi'ough
Italy as far as Sicily. Jean Froduric settled
at Catania, where he founded a musical so-
ciety, and lived for about twenty years. In
1834 he retui-ned to Germany, went to Paris
in 1836, and then to Loudon, where he still
was in 1837. For many years previously
ho had abandoned his former instrument for
the pianoforte. Works : Overture for full
orchestra ; Quintets for vioUns ; Quintet for
flute, horn, and strings ; Do. for flute and
strings ; Quartets for strings ; Trios for do. ;
Do. for 2 horns and violoncello ; Do. for
pianoforte, violin, and horn ; Duos for vio-
lins ; Do. for horns ; Do. for pianoforte and
horn ; 6 solos for violin ; Divertissements
and fantaisies for pianoforte ; German and
Itahan songs. — Fctis ; Schilling.
NITTETI, Italian oper.a in three acts,
text by Metastasio, music by Sarti, first
represented in Parma in 17G5. Scene in
Egypt. Characters represented : Amasi,
King of Egypt ; Sammete, his son ; Beroe,
a shepherdess, loved by Sammete ; Nitte-
ti, Egyptian princess, daughter of the de-
throned king Aprio ; Amenofi, sovereign of
Cirene, friend of Sammete and lover of
Nitteti ; and Bubaste, captain of the king's
guards. Amasi, captain of the Egyptian
army and friend of Ajjrio, King of Egypt,
is sent by him to subdue rebellious prov-
inces. He fulfils his mission, and on his
return is proclaimed king of Egj'pt by the
people. Aprio yields the throne without
demui', and begs Amasi to aid in finding
his daughter Nitteti, lost in the tumult,
whom he wishes given in marriage to Sam-
mete, the son of Amasi, so that she may be
restored to the throne. Aprio then dies in
the arms of Amasi. Published by Ricordi
(Milan). Same test, Italian operas, music
by Jommelli, Stuttgai-t, 17.53 ; Nicolo Con-
forti, INIadrid, 175G ; Holzbaucr, Turin,
1757 ; Johann Adolpli Hassc, Dresden,
1758 ; by Angelo Petrucci, Mantua, 1766 ;
Ignaz Fiorillo, Cassel, 1770 ; Sacchini, Lon-
don, 1774 ; Dominico Fischetti, Naples,
Nov. 4, 1775 ; Carlo Monza, Venice, 1777 ;
Josef Mysliweczek, ib., 1780 ; Paisiello, St.
Petersburg, 1781 ; Luigi Gatti, Lucca, 1786 ;
Sebastiano Nasolini, Trieste, 1788 ; Parenti,
Naples, 1789 ; Bertoni, ib., 1789 ; Bianchi,
Milan, 1789 ; Federici, London, 1797 ; Be-
nincori, Vienna, 1800 ; Stefano Pavesi, Tu-
rin, 1812 ; and Poissl, Darmstadt, 1817.
NIVERS, GUILLAmiE GABRIEL, born
in a village near Melun in 1617, died in
Paris after 1700. Church composer and
writer on music, pupil of Chambonuieres
on the pianoforte, became in 1G40 organist
of Saint-Sulpice, in 1642 tenor in the royal
chapel, and in 1G67 organist of the same.
Afterwards he was also maitrc do mnsiquo
to the queen. Works : Chants d'eglisc a
I'usage de la paroisse de Saint-Sulpice (Pa-
ris, 1G5G) ; Graduale romanum juxta mis-
sale Pii Quinti, etc. (ib., 1G58) ; Antiphona-
rium romanum, etc. (1G58) ; Passiones cum
benedictione, etc. (ib., 1670) ; Lejons de
tenc'bres, etc. ; Chants et motets, etc. (ib.,
1G92) ; Livi-e dorgue (3, 1GG5, 1671, 1675).
— Fc'tis ; Mendel ; Riemann.
NIXE, DIE, cantata for alto solo, female
chorus, and orchestra, text by Lermontoff,
music by Anton Rubinstein, op. 63, first
given at the Gewandhaus, Leipsic, Fcbru-
ai-y, 1864. Published by Scnft' (Leipsic).
— Hanslick, Concertwesen in Wien, ii. 340.
NOBLES SEIGNEURS, SALUT ! See
Uugitenots.
NOCES DE JE.\NNETTE, LES (Jcan-
nette's Wedding), optra-comiquc in one
20
jsrocEs
act, test by Carre and Barbier, music by
Victor Masso, first represented at the Oj)era
Comique, Paris, Feb. 4, 1853. Tlie subject,
Jeauuette, is a young working-woman, who
through love and tact elevates the charac-
ter of her betrothed, Jean, a coarse and ill-
tempered peasant. The chief parts were
sung originally by Mme Miolan and M.
Coudcrc. This, one of Masse's best works,
was first given in New York iu ISGl, with
Clara Louise Kellogg and M. Dubreuil ; in
Loudon iu 1875 ; in Vienna in 1884 ; and
by the American Opera Company, New
York, March 24, 188G. Published by
Schlesinger (Berlin, 1854). — Clement et
Larousse, 481 ; Krehbiel, Eeview (1885-86),
183.
NOCES D'OLIVETTE, LES, opera-co-
miquo in three acts, text by Chivot and Du-
ra, music by Edmond Audran, first repre-
sented at the Boutfes-Parisieus, Paris, Nov.
13, 1879. Olivette, daughter of the seue-
chal de Perpignan, loves Valentin, a young
officer in the body guard of the comtesse
de Pioussillou, and nejjhew of capitaine
Merimac, whom Olivette's father wishes
her to marry. Valentin disguises himself
as his uncle and marries Olivette. Matters
become complicated, for Valentin dares
not appear as himself before the comtesse,
who is iu love with him, and Olivette is in-
volved with two Murimacs. The thread is
disentangled through the aid of the due
des Ifs, who draws the elder Merimac into
a conspu'acy which forces him to leave the
country, and wins the comtesse's consent
to the union of Valentin and Olivette.
The original cast included JJlle Clary as
Olivette ; IMllo Bennati as la comtesse de
Koussillon ; MM. Jolly, Marcelin, Gerpre,
Desmonts, Pescheus, and Bertelot. The
opera was first given in New York, Jan. 7,
1881.— Kevue et Gaz. mus. de Paris (1879),
372.
NOCES DE TthtE ET DE THETIS.
See Nozze di Tetide e di Peleo.
NOCES DE PROMETHfiE, LES (The
Wedding of Prometheus), cantata for cho-
rus, soli, and orchestra, by Saint-Saens, op.
19, first performed at the Cirque des
Champs Elysees, Paris, Sept. 1, 1867. Pub-
lished by Maho (Paris, 1868).
NODUS SOLOMONIS (Solomon's Knot),
a celebrated canon composed by Pietro
Francesco Valentini in Komc in 1631. It
is written on the chord of G for ninety-
six voices iu twenty-four choirs. lurcher
describes it in his Musurgia Universalis
(Rome, 1650), and says if the proper dis-
tribution of the four-part chorus is made,
this canon may be sung by twelve million
two hundred thousand voices. — Grove, ii.
461 ; Burney, iii. 522 ; Hawkins, iii. 376.
NOEL. See Oratorio de Noel.
NOHR, CHRISTIAN FEIEDRICH, born
at Laugeusalza, Thuringia, Oct. 7, 1800,
died at Meiningen, Oct. 5, 1875. Virtuoso
on the violin, jjupU of Spohr, and in com-
position of Umbreit and Hauptmann ; after
several successful concert tours he became
Conzertmeister in the ducal orchestra at
Meiningen. Works — Operas : Der Alpen-
hirt, Gotha, 1831 ; Liebeszauber, Meinin-
gen, 1831; Die wunderbaren Lichter, ib.,
1833 ; Der vierjilhrige Posten, ib., 1851.
Oratorios : Martin Luther, Eisenach, 1850 ;
Fraueulob ; Helvetia. Symphony for full
orchestra ; Pot-pourri for wind instruments ;
Quintet for strings ; 2 quartets for do. ;
Quartets for male voices ; German songs.
— Fetis ; Mendel
NOLA, GIOVANNI DOJHNIC DE, Ital-
ian comjjoser of the 10th century. His name
is probably only that of his birthplace. He
was maestro di cajjpella of S. Annunciata at
Naples in 1575. Works : D. Joannis Dom-
ini juvenis, etc., cantiones, vulgo Motecta
appellattc, etc. (Venice, 1575) ; Canzone vil-
lanesche a 3 voci (ib., 1545) ; Villanella alia
Napolitana a 3 e 4 voci (ib., 1570) ; Madri-
gals in various collections of the time. — Fe-
tis ; Mendel.
NON CASA, NON SPIAGGIA. See
Pnritani.
NON, CE N'EST POINT UN SACRI-
FICE. See Alcesle, Gluck.
NON
NON, DE MA JUSTE COLEEE. See
Deii.r families.
NON MI DIE, BELL' IDOL mO. See
Don Giovanni.
NONNENGESANG (Song of the Nuns),
for soprano solo and female chorus, with ac-
companiment of two horns and harp, text
from Uhland's " Brautlied," music l)y Jen-
sen, op. 10, No. 1. It is dedicated to J. V.
E. Hartniann and Niels W. Gade. Pub-
lished by Sclmberth (Hamburg, 18fiO-G7).
NONNE SANGLANTE, LA (The Bloody
Nun), French opera in five acts, text by
Scribe and Dolavigne, music by Gounod,
first represented at the Academic Royalo do
Musique, Paris, Oct. 18, 1854. Subject from
Lewis's romance " The Monk " (179.")) ;
scene in Bohemia in the eleventh century.
Agnes, daughter of Comte de Moldaw, prom-
ised by her father to Theobald, son of the
Baron de Luddorf, loves Rodolphe, brother
of Theobald. In order to meet him she
promises to assume the disguise of the
Nonnc sanglante, a phantom that haunts
the estate. Rodolphe, seeking her at mid-
!iight, falls in with the real phantom, and,
supposing her to be Agnes, pledges her his
love. Theobald dies, and Rodolphe wish-
ing to niaiTV Agnt'S, the Nonne sanglante
agrees to release him from his vows to her
if he will slay her seducer and murderer.
To Rodolphe's horror, she points out his
own father as the iiroposcd victim. For-
tunately, the baron is removed by the poig-
nards of the Jloldaws, and the appeased
nun bears him to heaven in a grand tableau.
This opera was given only eleven times.
— Clement et Larousse, 481.
NONNES QUI REPOSEZ. See Robert
le Diable.
NON NOBIS, DOmNE, a celebrated
canon in the Mixolydian mode, frequently
sung in England at the close of public din-
ners. Its authorship has been assigned by
English historians to William Byrd, but the
canon does not appear in any of his pub-
lished works. According to Bumey, the
first copy bearing Byrd's name is contained
in Hilton's "Catch that Catch can," but
the author's name is not mentioned in the
edition of 1652. Its composition has been
ascribed also to Palestrina, who used the
opening theme for his Madrigal, " ^yhen
iiowery meadows deck the year," possibly
on the evidence of a copy of this canon, en-
graved on a plate of gold, and said to be in
the Vatican; but Dr. Blow, in his "Am-
2)hion Anglicus " (1700), speaks of this as
"Byrd's Anthem in golden notes," "Pre-
served intirc in the Vatican." The canon
has been set to German words and ascribed
to Mozart. Bach used the theme for the
subject of an " Allabreve per Organo pleno
in D ; " Handel, in the TTallehijah chorus in
the 3li!.<<siah, and in " I will Sing unto the
Lord," in I.-^i-ael in Egypt ; Mendelssohn, in
the last chorus in Faidus ; and Carlo Ricci-
otti founded upon it a concei'to, published
in Amsterdam in the eighteenth centurj-.
The canon is capable of many solutions, an
interesting one of which is in an anonymous
MS. in Buckingham Palace. Mendelssohn
also set this. Psalm cxv., op. 31, Simroek
(Bonn, 183(5). — Grove, ii. 4G4 ; Burney, iii.
92 ; Pohl, Mozart uud Haydn in London, i.
19, 25.
NON PliT ANDRAI. See Nozze di Fi-
garo.
NON PLUS ULTRA. See Pbta ultra.
NON SO DONDE \TENE, aria for bass
with orchestra in F, text from Metastasio's
Olimpiade, music by Mozart, composed for
Herr Fischer in Vienna, March 18, 1787.
Breitkopf & Hiirtel, Mozart Werke, Serie vi.,
No. 35. — KiJchel, Verzeichniss, No. 512 ;
Andre, No. 85.
NON SO DONDE VIENE, aria for so-
prano with orchestra, in E-flat, text from
Jletastasio's OUmpiade, music by Mozart,
composed in Manheim, Feb. 24, 1778, for
Aloysia Weber, and sung by her in Vienna,
March 11, 1783. Breitkopf & Hiirtel, Mo-
zart Werke, Serie vi., No. 17.^ — Kochel,
Verzeichniss, No. 294 ; Jahn, Mozart, ii.
170 ; Mozart's Letters (Lady Wallace), i.
175.
22
NON
NON SO Pitr COSA SON. See Nuzze
di Figaro.
NON TEMEK, AMATO BENE, rondo
for soprano with orcliestra and pianoforte
obligate, in E-flat, text from Idomeneo, mu-
sic by Mozart, composed for Mme Storace
and himself, Dec. 2G, 178(3. Breitkopf &
Hiirtel, Mozart Werke, Serie vi., No. 34. —
KOchel, Verzeichuiss, No. 505 ; Andre, No.
84 ; Jahu, Mozart, iii. 282.
NO, NO, CHE NON SEI CAPACE, aria
for soprano with orchestra, in C, text from
Aufossi's opera, H curlvso indiscrete, music
by Mozart, composed iu Vienna in June,
1783. Breitkopf & Hiirtel, Mozart Werke,
Serie vi.. No. 20. — KOchel, Verzeichuiss, No.
419 ; Jahn, Mozart, i. 426 ; iii. 276.
NOIIDISCHE SOMMEKNACHT (North-
ern Summer Night), cantata for mixed
chorus, soli, and orchestra, text by Lingg,
music by Friedrich Gernsheim, op. 21.
Published by Schott (Mainz, 1872).— Mus.
Wochenblatt (1872), 227.
NOIIDISCHE SUITEN, five Northern
Suites, for orchestra, by Asger Hamerik,
first performed at the Peabody Concerts,
Baltimore, Maryland, under the comjjoser's
direction. No. 1, op. 22, iu C : I. Im
Walde (Adagio, Allegro molto) ; H. Volks-
lied (Andante sosteuuto) ; HI. Springtauz
(Allegro vivace) ; IV. Meuuet (Andante) ;
V. Brautmarsch (Allegro maestoso, Allegro
vivace). Published by Breitkopf & Hiirtel
(Leipsic, 1871-72). No. 2, op. 23, iu G
minor : I. Heldeulied (Andante sostenuto) ;
II. Sage (AUegro molto) ; IH. Drapa (Mode-
rate) ; IV. Springtauz (Moderate, Allegro
molto vivace). Published by Andre (Offen-
bach am Main, 1872-73). No. 3, op. 24,
in A minor : I. Des Bardeu Lied (Andante
con mote) ; H. Hallingtauz (Allegro vivace) ;
in. Sage (Andante) ; TV. Springtauz (Alle-
gro). Published by Andre (Offenbach am
Main, 1873-74). No. 4, op. 25, in D, dedi-
cated to Theodore Thomas : I. Auf dem
Meere (Andante tranquillo, Allegro molto
vivace) ; II. Im Volksteu (Andante sostenu-
to) ; in. Meermaidstanz (Allegro molto vi-
vace) ; rV. LiebesHed (Andante) ; V. Zur
Kiisto (Allegro maestoso). Published by
Breitkopf & Hiirtel (Leipsic, 1875-76). No.
5, op. 26, in A, dedicated to Niels W. Gade :
I. Auf dem Meere (Allegro) ; II. Serenade
(i\jidante con mote) ; IH. Scherzo (Allegro) ;
IV. Im Volksten (Andautiuo con mote) ; V.
Lob des Meeres (Allegro). Published by
Andre (Offenbach am Main, 1877-78).—
Mus. Wochenblatt (1880), 505.
NOlvMA, Itahau opera in two acts, text
by Eomani, music by Bellini, first repre-
sented iu Milan, Dec. 26, 1831. The libretto
is taken from a tragedy of the same title, by
Soumet and Belmontet. The first act is
laid iu Cambria, in the sacred forest of the
Druids, the second in their temple of Ir-
minsul. The Gauls, having subjugated the
Romans iu Whales, have placed Pollione, a
proconsul of Home, in government. He
loves Norma, the daughter of the High
Priest, Orovese, and is secretlj' married to
her. Afterwards he gives his affection to
Adalgisa, a young priestess, who conseuta
to fly with him to Home ; but, conscience
smitten, she reveals the plan to Norma, who
resolves upon revenge, and determines to
murder her two children by Pollione. In-
stead of this, she impeaches herself in the
assembly of the Druids, who condemn her to
be burned. Her faithless husband is sen-
tenced also, his love for Norma returns,
and he shai-es Ler fate on the funeral pyre.
Among the best numbers are : Norma's
prayer to the moon, " Casta Diva ; " her
cavatina, "Ah! bello a me ritorua ; " the
duet between Adalgisa and Polhone, "Va
crudele ;" "Sola, furtiva, al tempio," sung
by Norma and Adalgisa ; the grand duet
between Norma and Adalgisa " Deh ! con
te li prendi," " Mira, O Norma ; " Norma's
war hymn, "Guerra, guerra ;" and her final
duet with Pollione, " Qual cor ti-adisti."
Original cast :
Norma (S.) Mme Pasta.
Adalgisa (A.) Mme Grisi.
PoUione (T.) Signer Donzelli.
Oroveso (B.) Signor Negrini.
NORMAN
The role of Norma, one of the most perfect
on the operatic stage, has been worthily filled
by some of the greatest of prime donne,
Giuiia Grist.
among them Pasta, Grisi, and IMalibran.
Grisi, who sang the part of Adalgisa to
Pasta's Norma in the first representation in
Milan, expressed to Bollini a desire to sing
Norma. "Wait twenty yeai-s," replied he,
"and we shall see." "I will play Norma
in sjsite of you, and in less than twenty
years," she retorted. She kept her word,
for in 183-1 she apjieared as Norma in Lou-
don, and made it her greatest character, in
which she has never been surpassed. Mile
Tietjens was also successful in this part.
The character of Pollioue was a favorite one
with Rubiiii, and that of Oroveso with La-
blache. This was the composer's favorite of
aU his operas, and Wagner called Norma "the
most melodious " of Bellini's works. It was
first given in Loudon, at the King's Theatre,
in Italian, June 20, 1833, with this cast :
Norma Mme Pasta.
Adalgisa Mme de M6ric.
Pollione Signer Douzelli.
Oroveso Siguor V. Galli.
It was first represented in Paris at the Ita-
liens, in 1833 ; in Vienna in 1833 ; in Ber-
lin in 1834 ; in Leipsic in 1835 ; at Drury
Lane, London, in English, June 2-1, 1837 ;
and in New York, Sept. 20, 1843, with
Signora Corsini as Norma, and Signor Pe-
rozzi as Pollione. It was given in New York,
Sept. 11, 1854, with Grisi, Mario, and
Susini in the cast. Published by Ricordi
(IMilan), and by Diabelli (Vienna). — Clement
at Larousse, 482 ; Allgem. mus. Zeitg.,
xxsiv. 199 ; xxxv. 529, 752 ; xxxvi. 315 ;
Grove, i. 213; Athenfcum (1833), 420;
(1837), 485 ; Upton, Standard Operas, 48.
NORMAN BARON, cantata, text from
Longfellow, music by Thomas Anderton,
%vritten for and dedicated to the Middles-
borough Musical Union of England in 1884.
NORMANN, LUDWIG, born in Stock-
holm, Sweden, Aug. 28, 1831, died there,
March 28, 1885. Pupil of Lindblad, and
afterwards at the Conservatorium at Leip-
sic. In 1857 he became professor of com-
position at the Royal Academy of Stockholm,
and in 18G1 Kapellmiistaro at the opera
there. In 18G4 he married the violin vir-
tuoso Wilhelmine Neruda. Works : Quartet
for pianoforte and strings ; Trio for do. ;
Sonata for violin ; Pianoforte music for two
and four hands. — Riemann.
NOltMANNENZUG, cantata for baritone
solo and male chorus, with orchestra, text
from " Ekkehard," by J. V. Scheffel, music
by Jlax Bruch, op. 32. Published by Breit-
kopf & Hiirtel (Leipsic, 1873).
NORWEGISCHE RHAPSODIEN (Nor-
wegian Rhapsodies), for orchestra, by Johan
Severin Sveusden, op. 17, op. 19, op. 21, op.
22. No. 1, op. 17, in B minor, dedicated
to M Lindeman (j\jidautino. Allegro, An-
dante, Allegro). No. 2, op. 19, in A (Alle-
gro, Andantino, Lento) ; No. 8, op. 21, in
C, dedicated to Edvard Grieg (Allegro mol-
to, AUegi'O moderato. Andante, Allegi-o,
Stretto) ; No. 4, op. 22, in D minor, dedi-
cated to Karl Hals (Andante, Allegro mo-
derato, Allegretto quasi moderato. Andante,
Allegi-o, Presto). Published by Warmuth
(Christiania, 1877-81). Arranged for piano-
foi'te, four hands. — Neue Zeitschr. (1881), 3.
NOTIIUNG
NOTHUNG ! N 0 T H U N G ! NEID-
LICHES SCHWEET. See Siegfried.
NOTKER (Notkerus), BALBULUS,
called St. Notker, born in 840, died at St.
S" . hlorXzBys'
Gall, Switzerland, April 6, 912. Ho was a
ruoiik of the Monastery of St. Gall, and
probably received Lis name (Balbulus, the
Stammerer) from a physical infirmity. He
was one of the earliest and most noted com-
posers of Sequences, Ms celebrated Media
vita in morte sunms, a chant which owed
much of its popularity to its subsequent
adoption by Christian wamors as their bat-
tle-song, being still in iise. Others also by
him (he wrote thirty-five) are used at Pen-
tecost, Easter, and Christmas. A codex
preserved at St. Gall contains forty-four of
his chants, which influenced both French
and Italian song. The portrait is a fac-
simile of a drawing in this MS. He must
not be confounded with Notker the younger,
known as Notker Labeo or Teutonicus, also
a monk of St. Gall, who died in 1022, re-
nowned as the writer of the first German
MS. on the theory of music. — Naumann
(Ouseley), i. 187, 202 ; Reissmann, 31 ;
Schubiger, Die Siingerschule von St. Gallen
(1858).
NOTTE E GIORNO FATICAR. See
Don Giovanni.
NOTTEBOHM, MARTIN GUSTAV.
born at Liidenscheid, Westphalia, Nov. 12,
1817, died at Gratz, Nov. 1, 1882. While
serving in Berlin, in 1838-39, as a volunteer
soldier, he studied pianoforte and composi-
tion under Berger and Dehn. In 1840 he
went to Leipsic, where he was the friend of
Schumann and Mendelssohn, a testimonial
from the latter as to his musical ability se-
curing his discharge from the army. Set-
tled in Vienna in 1846, he took a course of
counterpoint under Sechter, and became
active as a teacher and writer. He was one
of the most thorough investigators of Beet-
hoven's sketch-books. Works : Quartet for
pianoforte and strings ; Trios for do. ; Va-
riations on a theme by Bach for pianoforte
(4 hands) ; Other music for pianoforte. Lit-
erary works : Ein Skizzenbuch von Beetho-
ven (Leipsic, 18C5) ; Thematisches Verzeich-
niss der im Druck erschieneuen Werke
von Beethoven (ib., 18G8) ; Beethoveniana
(1872) ; Beethoven's Studien, containing
Beethoven's lessons from Haydn, Albrechts-
berger, and Salieri (1873) ; Thematisches
Verzeichniss der im Druck erschieneuen
Werke von Franz Schubert (Vienna, 1874) ;
Mozartiana (Leipsic, 1880) ; Ein Skizzen-
buch von Beethoven aus dem Jahre 1803
(ib., 1881).— Mendel, Erganz., 314 ; Ric-
mann.
NOUVEAU SEIGNEUR DU VILLAGE,
LE (The new Lord of the Village), opera-
comique in one act, text by Creuze de Les-
sor and Faviores, music by Boicldieu, first
represented at the Opera Comique, Paris,
June 29, 1813. This work, which is dedi-
cated to Martin, was very popular and kept
the stage for thirty years. It was given in
Vienna, June 24, 1814, as "Dor neue Guts-
lierr," translation by J. F. Castelli. It was
revived in Paris in 1867. Published by
Simrock (Bonn, 1814). — Allgem. mus. Zeitg.
NOUVELLES
xvi. 669 ; Pougin, Boieklieu, 146 ; Rufu-
veille, Boieldieu, sa vie et ses oeuvres (Koii-
en, 1851) ; Hoguet, Boieldieu, sa vie et ses
oeuvres (Paris, 1864).
NOIA'ELLES SOIEfiES DE \TENNE,
valses caprices for the pianoforte after
Strauss, by Cai-1 Tausig. They may be re-
garded as pendants to Liszt's Soirees de Vi-
euue, after Schubert. Cahiers I., 11., and
in., dedicated to Franz Liszt and published
by Schuberth (Leipsic and New York). Ca-
Lier IV., dedicated to Franz Liszt, and V.,
to the friends of the dead composer, pub-
lished posthumously by Erler (Berlin) and
by Hermann (Leipsic).
NOVELLETTEN f iir das Pianoforte, by
Schumann, op. 21, composed in 1838, and
dedicated to Adolph Heuselt. They have
no titles to explain them, but Schumann
calls them "long and connected romantic
stories." PubUshed by Breitkopf & Hiirtel
(Leipsic, 1839) ; ib., Schumann Werke,
Serie vii.. No. 21. Schumann wrote another
Novellette in the same year-, which is in-
cluded in his Bunte Bliitter, op. 99, No. 9.
Same title, Orchesterstxlcke by Niels W.
Gade, op. 53, first performed in Leipsit;,
Oct. 12, 1876.— Grove, ii. 480; iii. 409;
Maitland, Schumaim, 59.
NOVELLO, VINCENT, born in London,
Sept. 6, 1781, died at
Nice, Aug. 9, 18G1.
Sou of an Italian
father and an Eng-
hsh mother, he be-
gan his musical ca-
reer as a choir-boy
and deputy organist ;
was organist of the
Portuguese Chapel
in London in 1797-
1822 ; acted as jnan-
ist of the Italian Opei-a in 1812 ; was an
original member of the Philharmonic So-
ciety, and sometimes conducted its concerts.
In 1840-43 he was organist of the Eoman
Catholic Chapel in Moorfields ; was one of
the founders and conductors of the Classi-
cal Harmonists and Choral Harmonists So-
cieties ; in 1849 he settled permanently in
Nice. He composed good though not very
original music, but was best known as an
editor and arranger. He founded in London
in 1811 the music publishing house of No-
vello. Ewer & Co. Works : Kosalba, canta-
ta ; Old May Morning, a glee ; The Lifant's
Prayer, recitative and air ; Masses, motets,
and sacred music to Latin words. He ed-
ited also many collections of sacred music.
— Grove ; Kiemann ; Mendel ; Futis.
NOWM^OWSia, J(')ZEF, born at
Muiszek, near Ratlomsk, Poland, in 1805,
died at Warsaw in 1865. Pianist, Ih'st in-
structed in a monastery at Wonchak, then
pupil at the Conservatorium iu Warsaw of
Wiirfel in harmony, and of Eisner in comjJO-
sition. In 1833 he made his first concert
tour, visiting Germany, Italy, and stopping
for some time in Paris. He was then cousid-
ei-ed one of the best composers of Poland,
and after his return became jjrofessor at
the Alexander Institute, Warsaw. In 1838
and 1841 he again visited Paris. W'orks :
2 symphonies for orchestra ; 4 overtures
for do. ; 2 masses and other church music ;
About 20 polonaises for pianoforte and
orchestra ; 2 quintets for j)ianoforte and
strings ; Quartet for strings ; Polonaises,
fantaisies, nocturnes, airs varies, rondeaux,
etc., for pianoforte ; 12 grandcs etudes for
do. ; Method for do. ; Many songs. — Fetis ;
Mendel.
NOW' HEAVEN IN FULLEST GLORY.
See Nun scheint in vollem Glanzo.
NOW THE EVENING WATCH IS SET.
See Oberon.
NOW VANISH BEFORE THE HOLY
BE.-VMS. See Nun schwanden vor dem
heUigen Strahle.
NOZZE D' AEIANA E DI BACCO, LE.
See Ariadne.
NOZZE DI DORINA, LE (Dorina's Wed-
ding), Italian opera, music by Sarti, first
represented in Venice in 1782. It was
given in Paris, Sept. 14, 1789. The score,
which is in Lhe library of the Paris Con-
NOZZE
servatoire, 1ms been published in Paris ;
also by Ricordi (Milan). An opera of this
title was written by Cocehi, London, 17G2.
NOZZE DI ENEA CON LAVINIA, LE
(The Wedding of iEneas and Lavinia), Ital-
ian opera by Monteverde, first represented
in Venice in 1641. Subject, the marriage
of ^neas with Lavinia, daughter of Latiiuis,
King of Latiuni, to win whom J^neas fought
against her betrothed lover Turuus and
killed him. Other operas on the same
story, in Italian : Enea e Lavinia, by Sac-
chini, London, 1779 ; by Guglielmi, Naples,
1785. Enea in Italia, by Pallavicino, Ven-
ice, 1675 ; by Di'aghi, Vienna, 1678 ; and
Perez, Lisbon, 1759. Enea nel Lazio, by
Jommelli, Stuttgart, 1755 ; by Gardi, Mod-
ena, 1786 ; and Eighini, Berlin, 1793. Tur-
no Aricino, by M. A. Bononciui, about 1710 ;
by Alessaudro Scarlatti, Rome, 1720 ; and
Vinci, Naples, 1724 In French, Enee et
Lavinie, text by Fontenelle, music by Co-
lasse, Paris, 1690.
NOZZE DI FIGARO, LE (The Marriage
of Figaro), Italian opera buffa in four acts,
text by Lorenzo da Ponte, music by Mo-
zart, first represented at the Burgtheater,
Vienna, May 1, 1786. The libretto is taken
from Beaumarchais' comedy, " Le mariago
de Figaro," first jjlayed in Paris, April 27,
1784. The music was composed in April,
1786, and was finished on the 28th of that
month. Mozart wrote the finale to the sec-
ond act in two nights and a day without in-
termission. The scene is in Sixain. Count
Almaviva, wlio has won his wife through the
aid of Figaro, the barber of Seville, falls in
love with her maid, Susanna, who is be-
trothed to Figaro. They make him jealous
of the attentions paid to the Countess by
the page, Cherubiuo, and Figaro becomes
jealous of the Count's affection for Susanna.
After conspiracies, disguises, meetings at
cross-purposes, and playful surprises, the
characters reveal themselves, the Count and
Countess are reconciled, and Figaro and
Susanna are married. Among the princi-
pal numbers are : " Se vuol ballare, Siguor
contino," sung by Figaro to a guitar-like
accomijaniment ; Bartolo's song, " La ven-
detta ; " Cherubino's aria, " Non so piti cosa
son ; " the trio, " Cosa sento ! tosto andate,"
sung by the Count, Basilio, and Susanna ;
the chorus, "Giovanni lieti," and Figaro's
celebrated aria, "Non i^iti andrai," which
closes the first act ; the aria, "Porgi amor,"
sung by the Countess ; Cherubino's ro-
manza, " Voi, che sapete ; " " Venite, ingi-
nocchiatevi," sung by Susanna ; the elab-
orate finale to the second act, begun by the
Count, " Esci omai, garzon mal nato ; "
" Crudel ! percho finora," duet between the
Coimt and Countess ; the sextet, " Riconosci
in questo amplesso ; " the Countess's aria,
''Dove sono," and the "Zephyr Duet,"
" Canzouetta sul' aria : Che soave zeffiretto,"
sung by the Countess and Susanna ; Basilio'a
aria, " In quegli anni ; "Figaro's song, " Ecco
la marcia;" and Susanna's song, "Deb,
vieni, non tardar." Original cast :
Figaro (B.) Signor Benueci.
Count (B.) Signor Mandiiii.
Countess (S.) Signora Laschi.
Susanna (S.) Signora Storace.
Cherubino (S.) Signora Bussani.
Marcellina (S.) Signora Mandini.
Basilio
Don Curzio
Bartolo
Antonio .
Barberina (S.). . . .Signora Nanina Gottlieb.
Mozart conducted. After nine representa-
tions in Vienna, this oj)era was laid aside
through the influence of Mozart's rivals.
In the following year it was received in
Prague with great enthusiasm, and, owing to
its wealth of melody, charm and grace of
style, perfection of concerted music, and re-
flection of Mozart's genial nature, it has
kept the stage uninterruptedly. It was first
given in Paris at the Academic Royale de
Musique, translation by Notaris, March 20,
1793, without success ; and at the Theatre
Italien in 1838, with Lablache as Figaro,
Tamburiui as the count, Mme Persiani as the
(T.) Mr. Michael KeUy.
](B.).
. Siprnor Bussani.
KOZZE
countess ; Mine Giulia Grisi as Susanna;
and Mine Albeitazzi as Clieiubiuo. It was
represented at the Theatre Ljrique, adapt-
ed by Barbier and Cai-re, May 8, 1858, when
Mine Carvalho achieved great success as
Cherubino. Figaro was first represent-
ed in Beilin, May 22, 1803 ; in Leipsic in
1808 ; in Munich in 1813 ; in Dresden in
1816 ; and in Strasburg in 1823, adapted
55 I
Angelica Catalan!,
for the stage by Castil-Blaze. Tlie opera
was first given in London, King's Theatre,
June 18, 1812, with Mine Catalani as Susan-
na, a cliaracter in which she excelled, though
she did not like Mozart's music. It was
again given, Feb. 1, 1817, with Naldi as Fi-
garo, Ambrogetti as the count, Fodor as the
countess, Caiuporese as Susanna, and Pasta
as Cherubino. It was first given in New
York in English, May 3, 1823, with Bishop's
arrangement (Loudon, 1819), and it was
first sung in ItaUan, Nov. 2.3, 18.58, with
Carl Formes as Figaro, Piccolomini as Su-
sanna, and Mme von Berkel as Cherubino.
Miss Paton made her first a23pearance on
the oj»eratic stage as Susanna at the Hay-
mai-ket, London, Aug. 3, 1822, and Mine
Caradori-Allan made hers at the King's
Theatre, Jan. 12, 1822, as Cherubino, one of
Mozart's most charming characters, which
has been played with gi'eat success also by
Mme Pasta, Mme Vestris, Pauline Lucca,
and Christine Nilsson. Full score pubhshed
by Simrock (Bonn, 1821) ; by J. Frey
(Paris, 1823) ; and by Breitkopf & Hartel,
Mozart Werke, Serie v., No. 17. — KOchel,
No. 492 ; Jahn, Mozart, iv. 191-275 ; Nohl,
Mozart (Lady Wallace), ii. 133 ; Oulibi-
cheff, Mozart, iii. 28 ; do., Mozart Operu,
309 ; Holmes, Mozart, 279 ; Nisseu, Mozart,
ii. 80 ; Gehring, Mozai-t, 108 ; Kelly, Rem-
iniscences (London, 182G), 188 ; Pohl, Mo-
zart and Haydn in London, i. 147 ; Berliner
mus. Zeitg."(1793), 77, 138 ; Allgem. mus.
Zeitg., iii. 594 ; v. 572 ; sxiv. 270 ; xlii. 589 ;
Revue des deux Mondes, xvii. 841 ; Revue
et Gaz. mus. de Pirns (1858), IGl, 294 ;
Neue Zeitschr., xli. 113 ; Grove, ii. 390 ;
Clement et Larousse, 485 ; Hogarth, ii.
238-246 ; Upton, Standard Operas, 169.
NOZZE DI TETI E DI PELEO, LE
(The "Wedding of Thetis and Peleus), Ital-
ian opera in three acts, text by Orazio Per-
siani, music by Francesco Cavalli, first
represented at the Teatro San Cassiano,
Venice, in 1639. It was given at Versailles,
Jan. 26, 1654, after which a ballet of the
same title, of ten entrees, by Benserade was
danced by Louis XTV. and the ladies of
his court. — Schletterer, Studien zur Ge-
schichte der franzOsischen Musik, ii. 189 ;
Ambros, Geschichte der Musik, iv. 372.
NIJCEUS, ALARD, born at Lille about
the end of the 15th century. Church com-
poser, and maitre de chapelle to Ai-chduke
Jlathias of Austiia. His name seems to be
simply a translation of the French Noyer or
Du Noyer. Works : Quatuor Missaj quin-
que, sex et octo vocum (Antwerp, 1539).
— Fetis; Mendel.
NUCIUS, FRIEDRICH JOHANTSf, born
at GorUtz, Silesia, in 1556, died (?). Church
composer, pupil of Johann Winkler at ^litt-
weida, Saxony. He was at first a monk at
Rauden, Silesia, then abbot at Hiinmelwitz.
Works : Modulationes sacrse modis musicis
(Prague, 1591) ; Cantionum sacrarum (Lieg-
nitz, 1609) ; Hymns. — Futis ; HoiTinann,
Lexikon schlesischcr Tonkiinstler ; Mendel.
JMIIIT
NUIT A LISBONNE, ITNE (A Night in
Lisbon), barcarolle, for orchestra, by Saint-
Saeus, op. G3, dedicated to Ha, Majestu Dom
Luiz, Koi de Portugal. Published by Du-
rand, Schoeoewerk & Cie (Paris). Tran-
scription for the pianoforte for foiu- hands,
by the composer.
NUIT DE CLEOPATEE, UNE (A Night
of Cleopatra), opera-comique, text by Jules
Barbier, music by Victor Masse, first given
at the Opera Comique, Paris, April 25, 1885.
The libretto is founded on a romance by
Gautier. A great success ; called by the
critics the composer's masterj^iece.
NUIT DE WALPUEGIS, LA (Walpurgis
Night), symphonic poem for orchestra, by
Charles Mario Widor, first performed at the
Chatelet, Paris, Feb. 8, 1880. It is a de-
scriptive poem in tkree divisions : Overture,
Andante, and Devil's Dance. — Musical Re-
view (New York, 1880), i. 296.
NLIT DTV'RESSE. See Africaine.
NUITS BLANCHES (Restless Nights),
eighteen morceaux lyriques for the piano-
forte, by Stei^hen Heller, op. 82. I. Vivace
(in C) ; II. Impetuoso (in A minor) ; HI.
Lento con tenerezza (in G) ; TV. Molto
animato (in E minor) ; V. Andante quasi
allegretto (in D) ; VI. Allegro deciso (in
B minor) ; VH. Pin lento (in A) ; VHI. Al-
legro ai^passionato (in F-sharp minor) ; IX.
Allegretto con grazia (in E) ; X. Allegro
caratteristico (in C-sharp minor) ; XI. An-
dante con moto (in G-flat) ; XH. Molto
agitato (in B-flat minor) ; XHI. Allegretto
gi-azioso (in D-flat) ; XIV. Piii moderate e
jjlintivo (in F minor) ; XV. Andante pla-
cido (in F) ; XVI. Allegi-o risoluto (in D
minor) ; XVII. Allegretto pastorale (in B-
flat) ; XVni. Allegro non troppo (in G
minor). Published by Litolff (Brunswick,
1877). — Barbedette (Brown - Borthwick),
Heller, 70.
NUITS D'ET:fi, LES (Summer Nights),
six songs for one voice with pianoforte
accompaniment, from Theophile Gautier,
music by Berlioz, op. 7. They were com-
posed in 1834, dedicated to Mllo Louise
Bortin, and published by Richault (Paris,
1811). I. Villanelle, for mezzo-soprano, or
tenor ; II. Le spectre de la rose, for con-
tralto; in. Sur les lagunes, for baritone,
contralto, or mezzo-soprano ; IV. Absence,
for mezzo-soprano or tenor ; V. Au cimc-
tiere, for tenor ; VI. L'ile inconnue, for
mezzo-soprano or tenor. No. IV. was or-
chestrated in 1813 ; the others, about 185G.
They were translated into German by P.
Cornelius, and rededicated respectively to
Jllle Wolff, Mle Falconi, M. Milde, Mile
Nottcs, M. Caspari, and Mile Milde. Pub-
lished by Rieter-Biedermaim (Leipsic and
Winterthur, 1856) and by Hofmeister (Leip-
sic). Liszt also wrote Nuits d eto a Pausi-
lippe, trois amusements sur des motifs de
I'Album de Donizetti (Ricordi, Milan, 1839 ;
and Schott, Mainz, 1839).— Neue Zeitschr.,
xlvii. 77.
NUN BEUT DIE FLUR, soprano aria of
Gabriel, in B-flat major-, in Haydn's Die
Scho'pfung, Part I., No. 8.
NUN DANKET ALLE GOTT, choral by
Johanu Criiger. It is one of Criiger's best
known works. Published in the "Praxis
pietatis melica," for four voices and two in-
struments (Leipsic, 1619 ; 30th ed., Berlin,
1703). It was used by Mendelssohn in No.
8 of his Lobfjesang, o-p. 52 (1810).
NUN LIEBES WEIBCHEN, ZIEHST
MT MIR, duet for soprano and bass with
orchestra, in F, composed by Mozart about
1790. Breitkopf & Hartel, Mozart Werke,
Serie vi.. No. 47. — Kochel, Verzeichniss,
No. 625.
NUN LIEGET ALLES UNTER DIR,
choral in D major, for four-part chorus,
with accompaniment of two flutes, two
oboes, strings complete, and continue, in
Johann Sebastian Bach's cantata (Orato-
rium) Lohel Gott in seinen Reichen. The
melody is Ermunt're dich, mein schwacher
Geist, written by Johann Schopp (1641).
NUN OF NIDAEOS, THE, song for
tenor solo, male chorus, and orchestra, with
pianoforte obligato accompaniment, and
reed organ ad libitum, music by Dudley
NUN
Buck, op. 83, written in 1878, and dedi-
cated to W. B. Leonard. Published by G.
Schirmer (New York, 1879).
NUN SCHEINT IN VOLLEM GLANZE,
bass aria of Eapbael, in D major, in Hay-
dn's Die SchOpfung, Part 11., No. 22.
NUN SCHWANDEN VOK DEM HEILI-
GEN, tenor aria of Uriel, and chorus, in A
major, in Haydn's Die Schi'ypfung, Part L,
No. 2.
NUN SEI GEDANKT, ]VIEIN LffiBER
SCHU'AN. See Lohengrin.
NUOVE MUSICHE, LE, a collection of
madrigals and canzone for one voice, by
Giulio Caccini. The first edition was pub-
lished by Marescotti (Florence, lGOl-2) ;
the second hy Alessaudro Itaverii (Venice,
1607) ; the third (ib., 1615).— Fetis, ii. 141 ;
Ambros, iv. 173.
NUBAL4.HAL, oder das Rosenfest von
Caschmir, German opera in two acts, text
by Herklots, from Moore's " Lalla Eookli,"
music by Spontini, first represented in Ber-
lin, ^lay 27, 1822, in honour of the betrotli-
al of tlie Princess Alexandrina of Prussia
to the Grand Duko of Meckleuburg-Schwer-
in. Original cast :
Nurmahal Mme Seidler.
Zelia Mme Scliulz.
Namouna Mme Jlilder.
Sultan Dschohangir HeiT Bader.
]5ahar Herr Devrient.
Atar Hcrr Blume.
Genie lilllo Euuike.
The work was dedicated to the Emperor
and published by Schlesinger (Berhn, 1828).
Spontini had previously written music for
an arrangement of "Lalla Eookh," repre-
sented at the Royal Palace, Jan. 27, 1821, to
entertain the Grand Duke Nicholas of Rus-
sia, during his visit to the German court.
Weber wrote music to Nurmahal's song,
" From Chindara's warbling fount I come,"
from "LaUa Rookh," for soprano with pi-
anoforte accompaniment ; his last compo-
sition, it was left incomplete, and finished
by :Moschelcs.— Grove, iii. 673, 675 ; All-
gem, mus. Zeitg., xxiv. 402 ; Berliner mus.
Zeitg., V. 471, 477 ; Ciicilia, vii. 135 ; Jahn,
Weber Verzeichniss, 409.
0
AKELEY, Sir HERBERT STANLEY,
born at Ealing, IMiddlesex, England,
July 22, 1830, still living, 1890. He
was educated at
^^ "^^^\ Kugby and Ox-
I ^ ford (B.A., 1853;
1'/^ '^ Vr M.A., 185G) ; pu-
pil of Dr. Stephen
El vey in harmony,
in Leipsic of Mo-
schelesand Plaidy
on the jjianoforte,
in Bonn of Brci-
densteiu, and in
Dresden of Dr. Johann Schneider, on the
organ. After residing in London as a mu-
sical critic he became professor of music
in Edinburgh University in 1865 ; received
the degi'ce of Mus. Doc, Cambridge, 1871 ;
Oxford, 1879 ; knighted in 1876 in recog-
nition of his musical services, and in 1881
made composer to Her Majesty in Scot-
land ; LL.D., Aberdeen, 1881 ; D.C.L., To-
ronto, 1886 ; Mus. Doc, Dublin, 1887 ; hon-
orary member of Aecademia Filarmonica,
Bologna, 1888. Works : Edinburgh Festal
March, for orchestra, Liveiijool Musical
Festival, op. 22, 1874 ; Funeral March, for
do., oji. 23 ; Minuet in old style, do., Ches-
ter Festival, 1885 ; Anthems ; 4 quartets,
op. 7 ; 3 do., op. 16 ; 6 part-songs for men's
voices, op. 17 ; 4 choral songs for do. ; Stu-
dent's song. Alma Mater, for do. ; National
Scottish ]Melodies, arranged for do., op. 18 ;
3 duets, op. 8 ; English, French, and Ger-
man songs ; Pianoforte music — Grove ;
Men of the Time (1884), 840.
OAIvEY, GEORGE, born in London,
Oct. 14, 1841, still living, 1890. Vocal com-
poser, pupil of Hullah and MacfaiTen ; won
first prizes in Society of Arts Examinations
in 1869 and 1873. He became examiner in
harmony and composition to Tonic Sol-fa
OBERIIOFFER
College ill 1877, lecturer on harmony in
1877, and on counterpoint in 1878 ; pro-
fessor of liarmony and
couuter23oint in City
of London College
in 1883. Mas. Bac,
Cambridge, 18 77.
Works : Blessed be
the Lord God, and
other anthems;
Hymns and chants ;
Stars of the Summer
Night, and other part-
songs ; Songs and glees. He has published,
also: Exercises in Harmony (London, 1877);
Text-Book of Counterpoint (ib., 1878) ; Do.
of Harmony (ib., 1884).
O ! A TE B.VDA, See Lucrczia Borgia.
OBBLIGATO, AH! SI OBBLIGATO.
See Elim-e d' Amore.
O BEAU PAYS DE LA TOURAINE.
See Huguenots.
OBERHOFEER, HEINRICH, born at
Pfalzel, near Treves, Rhenish Prussia, Dec.
9, 1824, still Hving, 1890. Church compos-
er, first instructed by his fatliei', an organ-
ist, then pupil of W. Hermann at Treves ;
became instructor of music at the teach-
ers' seminary at Luxemburg in 185G, and
professor in 18G1. He has done much for
the elevation of church music, and in 18G2
founded the periodical "Ciicilia," with that
object in view. In the same year he was
elected a member of the Aecademia di Santa
Cecilia in Rome. Works : Sacred four-part
songs ; Choruses for male voices ; Songs ;
Organ music. — Mendel.
OBERON, or the Elf - King's Oath, ro-
mantic English opera in three acts, text
by James R. Planche, music by Carl Maria
von Weber, first represented at Covent
Garden, London, April 12, 182G. It was
written in 1825-2G, and is the composer's
last dramatic work. The libretto is taken
from Villeneuve's romance, " Huon de
Bordeaux," and from Sotheby's translation
of Wieland's poem, " Oberon." Oberon,
having quarrelled with Titauia, vows that
he will not be reconciled to her until ho
shall find two lovers who will kGej) their
troth inviolate. Puck, wishing to reunite
them, sets to work. He discovers in
France the chevaUer Huon de Bordeaux,
who has killed the son of Charlemagne in a
combat, and is ordered to Bagdad. Puck
brings him with his squire, Sherasmin,
asleep to Oberon, who shows him a vision
of Rezia, daughter of the Caliph. Sir
Huon falls in love with her, and on waking
Oberon promises that he may possess her,
and gives him a magic horn that will sum-
mon him at Huou's need. He gives to
Sherasmin a golden cup that tests charac-
ter by filling with wine, or flame, to the one
who holds it to his lips. Huon is trans-
ported to Bagdad, where he learns that
Rezia is to be married on the morrow.
Rezia, who also has seen Sir Huon in a
vision, declares to her attendant, Fatima,
that she will die by her own hand if Sir
Huon does not come to her rescue. He
ajipears, and, with the aid of the magic
horn, can-ies her away, and they embark
with Fatima and Sherasmin. A storm is
raised by Oberon, and they are shipwrecked
on a desert island. Rezia is captured by
pirates, and sold to the Emir of Tunis, who
becomes enamoured of her. Fatima and
Sherasmin are made slaves. Sir Huon,
conveyed to Tunis by Oberon, enters the
harem to find Rezia. He undergoes trials
from the emir's wife, and, resisting her,
she accuses him to her husband, who or-
ders Sir Huon and Rezia to be burned on
the same jjile. Sherasmin blows upon the
fairy horn, and Oberon appears with Ti-
tania, saves the lovers, and bears them to
the court of Charlemagne, where Huon is
pardoned. The chief numbers are : The
opening chorus, "Light as fairy feet can
fall," sung by fairies and genii ; Oberon's
solo, "Fatal oath;" Rezia's song, "Oh!
why art thou sleeping ? " leading to the en-
semble, " Honour and joy to the true and
the brave ; " " Oh ! 'tis a glorious sight,"
sung by Huon ; and the finale to Act I.,
31
OBERON
"Yes, my lord," begun by Eezia, extend-
ing into a duet with Fatima, and closing
with the chorus, " Now the evening watch
is set ; " the chorus, " Glory to the Caliph ; "
Fatima's ai-ietta, " A lovely Ai-ab maid ; "
the quartet, " Over the dark blue waters ; "
Huon's prayer, " Euler of this awful
hour;" Eezia's grand aria, "Ocean, thou
mighty monster," which is often sung at
Eugenia Pappenheim.
concerts ; tlic mermaids' song, " Oh ! 'tis
pleasant ; " Fatima's song, " Oh ! Araby,
dear Araby ; " the duet, " On the banks of
the sweet Garonne," between Fatima and
Shei'asmin ; Kczia's cavatina, " Mourn thou,
poor heart ; " Sir Huon's rondo, " I revel
in hope ;" and his aria, "Yes! even love to
fame must yield," which was composed
especially for Braham, at his request. The
opera is a combination of chivalry, Orient-
alism, and delicate fancy, blended with art
and grace. The melody, colour, and rich-
ness of the orchestration were greatly ad-
mired by BorUoz. Original cast :
Oberon (T.) Mr. Bland.
Huon (T.) iVIi-. Braham.
Sherasmin (Bar.) ilr. Fawcett.
Rezia (S.) Miss Paton.
Fatima (M.-S.) Mme Vestris.
Puck (C.) Miss Cawse.
Mermaid (S.) Miss Gownell.
The opera was translated into German by
Theodor Hell, and given in Leipsic in De-
cember, 1826 ; in Vienna, March 20, 1827 ;
and in Berlin, July 2, 1828. It was first
represented in Paris in German, in 1830,
without success, and again at the Theatre
Lyrique, translation by Nuitter, Beaumont,
and Chazot, with success, Feb. 27, 1857.
It was first sung in New York, Oct. 9, 1829.
It was first given in Italian at Her Majes-
ty's, London, July 3, 18G0, with recitatives
by Su* Julius Benedict, and this version was
given in Philadelphia, March 9, 1870. Obe-
ron was revived in London, December 7,
1878. The last German edition by Franz
Grandaur, with recitatives by Franz Wiill-
ner, was given in Leipsic, Sept 30, 1883.
The original autograph, in the Royal Li-
braiy in St. Petersburg, was presented in
1855 by Max von Weber to Alexander H.
Kezia is a favourite role of Mme Pappen-
heim. Pubhshed by Welsh & Hawes (Lon-
don, 182C) ; by Schlesinger (Berlin, 1827) ;
by Sinirock (Bonn and Berlin) ; by Litolff
(Brunswick) ; by Lose (Copenhagen) ; by
Hirsch (Stockholm) ; by Brandus & Du-
four, by Choudens, and by Richault (Paris) ;
and by Novello & Co. and Cramer & Co.
(London). — Jiihus, Verzeichniss, 383 ; Web-
er, Weber, ii., 58G, G67, 680; Palgrave,
Weber, ii., 377, 455 ; Benedict, Weber, 120 ;
Harmonicou (1826), 107, HI ; Edward's
Hist. Opera, ii. 299 ; Hanslick, Moderne
Oper, 75 ; Berlioz, A travers chants, 234 ;
Berliner mus. Zeitg., iv. 19 ; v. 456, 463,
473, 481 ; AUgem. mus. Zeitg., xxviii. 43G,
530 ; xxix. 109, 245, 265 ; Cacilia, vii. 174 ;
Clement et Larousse, 488 ; Revue et Gaz.
mus. de Paris (1857). 66, 77 ; Echo, i. 209 ;
Grove, iv. 420 ; Quarterly Mus. Review
OBEIlTIltJR
(London), viii. ; Signale (1883), 865 ; (1886)
1153 ; Atbenaium (1878), ii. 771 ; Upton,
Standard Operas, 333.
OBERTHUK, KARL, born in Munich,
March -1, 1819, still liv-
ing, 1890. Virtuoso on
the harp, i)upil of Elise
Brauchle and G. V.
IiOder ; was attached to
the theatre of Zi'u-ich iu
1837-39, then engaged
in Wiesbaden, lived iu
Mannheim iu 1812-41:,
aud went to Euglaud iu
1811:, where he held a brief engagement at
the Italian Opera iu London, aud then de-
voted himself to teaching, composition, aud
playing in concerts iu Euglaud aud abroad.
Works: Floris von Namur, opera, Wies-
baden, about 1810 ; Der Berggeist des Har-
zes, do., about 1850 ; The Pilgrim Queen,
cantata for treble voices ; The Eed Cross
Knight, do. for female voices ; Lady Jane
Grey, cantata; Overtures to Macbeth and
to Eiibezahl ; St. Philip de Neri, mass with
harp ; Concertino for harp aud orchestra ;
Loreley, a legend, for do. ; Quartet for 4
harps ; Noctiu'ue for 3 harps ; Trios for harp,
violiu, and violoncello ; Many solo pieces for
harp ; Pianoforte music, and sougs. — Futis,
Supplement, ii. 282 ; Mendel.
OBIOLS, MARIANO, born at Barcelona,
Nov. 26, 1809, died there, Dec. 10, 1888.
Violinist, pupil of one Juan Vilauova, and
in harmony of Arbos and Saldoni, aud iu
composition of Ramon Vilauova ; went to
Italy iu 1831, aud studied under Mercadaute,
with whom he travelled through Italy,
France, and Germany. In 1837 he returned
to Spain and soon after was made director
of the newly created musical Lyceum at
Barcelona, where he organized and con-
ducted regular concerts, and finally became
director general of music, and orchestra con-
ductor of the grand theatre of the Lyceum.
Works : Odio ed amore, opera, given at
Milan, Scala, 1837 ; Editta di Belcoui't, do.,
Barcelona, 1874 ; II regio Imeneo, cantata ;
Many dramatic scenes for the Lyceum Thea-
tre, Barcelona ; Mass ; Psalms ; 3 Salve
Regina ; Motets ; 3 concert overtures ; Sere-
nade ; Concerto for English horn ; Album
religieux ; 2 vocal albums, etc. — Futis, Sup-
plement, ii. 282 ; Mendel, Ergilnz., 316.
OBRECHT. See Hobrecht.
OCA DEL CMRO, L' (The Goose of
Cairo), Italian oj^era buffa in two acts, text
by Varesco, music by Mozart, written in
Salzburg in July, 1783. Only the first act
was finished, for Mozart was dissatisfied with
the libretto. The autograph and sketches
are in the possession of Jules Andre, Frank-
fort. The scene is iu Ripasecca. Charac-
ters represented : Don Pijjpo, Marquis of
Ripasecca (B.) ; Donna Pautea, his wife (S.) ;
Celidora, their daughter (S.) ; Bioudello, a
wealthy citizen of Ripasecca (T.) ; Calan-
drino, nephew of Donua Pautea (T.) ; Lavina,
companion of Celidora (S.) ; Chichibos, stew-
ard iu Don Pippo's house (B.) ; and Aunetta,
Donna Pantea's maid (S.). The opera was
first published by Andre. The sketches
were fiuished by Charles Coustautiu, who
added numbers from Mozart's Lo sposo
deluso and Zaide, translated into French by
Victor Wilder, aud first represented at the
Theatre des Fantaisies Parisiennes, Paris,
June 6, 1867 ; in Vienna, in 1868 ; aud at
Drury Lane, London, in Italian, May 12,
1870. Pubhshed by Andre (Ofteubach,
1855) ; by Breitkopf & Hilrtel, Mozart
W'erke, Serie v.. No. 37 (Supplement). —
KiJchel, Verzeichniss, No. 422 ; Andre, Ver-
zeichniss, No. 47 ; Jahn, Mozart, iv. 163 ;
Clement et Larousse, 489 ; Athenaum (1870),
i. 685 ; Hanshck, Moderne Oper, 49 ; Neue
Zeitschr., liii. 80.
OCCASIONAL ORATORIO, iu three
parts, by Handel, first performed at Covent
Garden, Loudon, Feb. 14, 19, and 26, 1746.
It is supposed that this work was written to
be performed at three free concerts which
Handel gave to pay his debt to his former
subscribers, who had lost eight concerts in
the season of 1744-45. Another theory is
that it was composed to celebrate the first
33
OCCIDENT
victories over Charles Stuart in Scotland.
The onlj- date on the autograph score, in
Buckingham Palace, heads the overture, one
of Handel's best, Anno 17i5 (or 1746).
The conducting score is inscribed with the
names of the soprano Gambarini and the
tenor Beard. The first two parts are orig-
inal compositions, the words of which are
from Milton's "Psalms." The soprano air,
" Oh, liberty, thou choicest treasure," in B-
flat, was subsequently transposed to A for
Judas Maccabseus, where it appears as
" Come, ever-smiling liberty." Part II.
closes with a fine Hallelujah chorus. Part
HI. opens with a siufonia put together from
two movements of the first and sixth of the
twelve Concerti grossi. It contains several
numbers from Israel in Egypt, including the
choruses, " I will sing unto the Lord " and
" He gave them hailstones for rain," and
the tenor aria, " The enemy said, I will pur-
sue ; " and many new jiieces which refer to
the mihtary events of the time. The words
of these were probably written by Dr.
Thomas Morell. The strophe, " War shall
cease," in the air, " Prophetic visions," is
identical with Dr. Arne's "Rule. Britannia,"
from which Handel took his subject. The
oratorio closes with " God save the King,"
from the Coronation Anthem. It was per-
formed only three times. First published
by Walsh (London) ; edition by Chrysander
for the HiindelgeseUschaft, Breitkopf &
Hartel (Leipsic, 1885). — Schcelcher, Handel,
295 ; Kockstro, Handel, 283.
OCCIDENT ET ORIENT (West and
East), march for military band and orches-
tra, in C, by Saint-Saons, op. 25, first per-
formed at the distribution of prizes at the
Exposition Universelle, Paris, 1878. Dedi-
cated to M. Th. Biais, and published by
Durand, Schoenewerk & Cie (Paris, 1879).
Ai-ranged for the isianoforte for four hands
by the composer.
OCEAN SYMPHONY, in C, for orches-
tra, by Anton Rubinstein, op. 42, first per-
formed in Kijnigsberg in 1857. It was
given in Leipsic, at the Gewandhaus, Feb.
9, 1860 ; by the Musical Art Union, Lon-
don, May 31, 1861 ; in Vienna in 1863, and
by the New York Philharmonic in 1871.
This, Rubinstein's second symphony and
greatest orchestral work, is full of rich
melody and solemn grandeur. It is dedi-
cated to Franz Liszt. I. Allegro maestoso ;
n. Adagio non tanto ; HI. Scherzo ; IV.
Finale : Allegro con fuoco. Subsequently
Rubinstein composed two new movements,
an Adagio and Scherzo ; and the entire
symphony was given at the Crystal Pal-
ace, London, April 12, 1877 ; by the New
Philharmonic, April 28, 1877 ; by the Phil-
harmonic, Juno 11, 1879 ; at the Chate-
let, Paris, Feb. 4, 1877 ; and in Berlin in
1884 A new movement, "The Storm,"
Lento assai, con moto moderato, was given
at the Crystal Palace, London, May 13,
1882. PubHshed by Senff (Leipsic, 1857 ;
new ed., 1876). — Concertwesen in Wien, ii.
291 ; Athena3um (1877), i. 554 ; (1879), i.
Upton, Standard Symphonies, 220 ; Signale
(1858), 193 ; (1876), 353 ; La Mara, Mus.
Studienkopf, iii. 204 ; Neue Zeitschr., liii.
11, 18.
OCEAN, THOU INHGHTY MONSTER.
See Oheron.
O CIELI AZZURRL See Aida.
OCKENHEIM See Okeghem.
OCON Y EIV.LS, EDUARDO, born at
Malaga, Jan. 12, 1834, still living, 1890.
Organist and pianist, studied music at the
cathedral of his native city, where he was a
choir-boy, and in 1853 was made assistant
organist. In 1858 he went to Paris, where
Gounod is said to have advised him, and
remained in France several years. Works :
Masses, motets, psalms, litanies, hymns,
etc. ; Spanish, Italian, and French melo-
dies ; Pianoforte music. He published also
a collection entitled : Cantes espanoles, co-
leccion de aires nacionales y populares, etc.
(Malaga, 1874).— Fetis, Supplement, ii. 283 ;
Mendel, Ergilnz., 318.
O DASS ICH DOCH. See Zauher-
flole.
ODE A SAINTE-CfiCILE (Ode to St,
34
O DEATH
Cecilia), for solo, chorus, aud orchestra, by
Saiut-SaOns.
O DEATH, WHERE IS THY STING,
duet for alto aud tenor, iu E-dat major,
with accoiupauimeut of coutinuo, iu Hau-
del's 3Ie)<siah, Part III, No. 48 ; it leads
immediately to the chorus, " But thanks be
to God."
ODE FOR SAINT CECILIA'S DAY,
music to Dryden's, for solo, chorus, and or-
chestra, by Handel, first performed at Lin-
coln's luu Fields, London, on Saint Cecilia's
Day, Nov. 22, 1739. The programme in-
cluded Alexander's Feast, two new con-
certos for several instruments and one for
the organ. The autograph, in Buckingham
Palace, is the first one dated with astrologi-
cal signs, a custom which Handel contin-
ued the rest of his life. The work was
written between Sept. 15 and Se^Dt. 2-1,
1739. It is the shortest of Handel's vocal
compositions, but contains several fine cho-
ruses. It was given six times during the
season. Mozart wrote additional accom-
paniments in 1789. It was first jjerformed
by the Handel and Haydn Society, Boston,
Nov. 28, 18G3. Published by Walsh (Lon-
don, 1739) ; and by Simrock (Berlin, 18G0-
67). Chrysander's edition for the Hilndel-
gesellschaft, Breitkopf & Hiirtel (Leijisic,
18G5). This ode had previously been set
to music by Giovanni Baptista Draghi in
1687. Same title, ode by Christopher Fish-
burn, music by Purcell, 1683 ; ode by
Thomas d'Urfey, music by Dr. Blow, 1691 ;
ode by Joseph Addison, music by Pui'cell,
1699 ; ode by Pope (1708), music by Will-
iam Walond, 1757 ; ode by Christopher
Smart, music by William Russell, 1800 ;
aud a cantata, test by Chorley, music by
Julius Benedict, first performed at the Nor-
Avich (England) Festival, in 1866, Sacred
Harmonic Society, London, 1867. — Chry-
sauder, Handel, ii. 430 ; Rockstro, Handel,
211 ; Hawkins, v. 328 ; Upton, Standard
Cantatas, 57, 177; Harmonicou (1831), 289.
O DIEU PUISSANT, DIEU TUTfi-
LAIRE. See Muetle de Portici.
ODIN'S MEERESRITT (Odin's Ride
over the Sea), cantata for baritone solo,
male chorus, and orchestra, on a poem of
the same title, music by Friedrich Gerns-
heim, op. 48, first given iu New York by
the Arion Society, Dec. 14, 1884. It is
dedicated to the Grossherzog Ludwig von
Hessen und bei Rhein. Published by Ries
& Erler (BcrHu).
ODI TU. See Ballo in Maschera.
O DOLCEZZE PERDUTE. See Ballo in
Maschera.
0, DU MEIN HOLDER ABEND-
STERN. See Tannhduaer.
ODYSSEUS, cantata in two parts, for
soli, chorus, and orchestra, text by William
Paul Graff, from the Odyssey, music by
Max Bruch, op. 41, first performed in
Bremen in June, 1872. Characters repre-
sented : Odysseus (Bar.) ; Penelope (C.) ;
Alcinoos, King of the Pheaces (B.) ; Arete,
his consort (C.) ; Nausicaa, their daughter
(S.) ; Pallas Athene (S.) ; Leucothea (S.) ;
the Helmsman (B.) ; Hermes (T.) ; Spirit of
Tiresias (B.) ; Spirit of Anticlea, mother of
Odysseus (C.) ; Chorus of Companions of
Odysseus, Spirits of the Departed, Sirens,
Tritons, Sea-Nymphs, Pheaces, Rhapsodes,
Boatmen and Peojjle of Ithaca. Published
by Simrock (Berlin, 1871). — Mus. Wochen-
blatt (1873), 703, 726; Upton, Standard
Cantatas, 95.
CEDIPE A COLONE, tragedie-opera, in
three acts, text by Guillard, after Ducis's
tragedy, music by Sacchiui, first repre-
sented at the Academic Royale de Musique,
Paris, Feb. 1, 1787. This is Sacchini's mas-
terpiece. The choruses are the most strik-
ing features of the work, and the recitatives
are vigorous and sustained. It is dedi-
cated to Marie Antoinette. DisapiDoiutment
caused by the Queen's failure to keep her
promise to have this opera performed at
Fontaiuebleau was the occasion of the com-
poser's death. Q5dipe was given continu-
ally at the Academic from 1787 till 1830,
receiving five hundred and eighty-three rep-
resentations. It was revived in July, 1843,
OEDIPUS
and given six times, and once again in May,
1844 Original cast, Paris, 1787 :
Antigone (S.) Mme Chcron.
Poliuice (T.) M. Laine.
CEdipe (T.) M. Cheron.
Tliesee (B.) M. Chardiny.
In later yeai's Mme Dabadie and Mme
Donis-Gras appeared as Antigone ; M.
Adolphe Noun-it and M. Massol, as Polinice ;
and M. Dabadie and Levasseur, as Thesee.
Pianoforte arrangement published by
Troupenas (Paris) ; in German, translation
by Herklots, edition by Carl Klage (Berlin,
1818). Same title Italian opera, text by
Lalli, music by Pietro Torri, was given in
Munich in 1729. — Clumeut et Larousse,
491 ; Grove, iii. 208 ; Fetis, vii. 3G2 ; La-
jarte, i. 354 ; Berliner mus. Zeitg., ii. 45 ;
Hogarth, ii. 148.
OEDIPUS IN KOLONOS, music to Soph-
ocles's tragedj-, by Mendelssohn, op. 93, first
performed at Potsdam, Nov. 1, 1845. Frl.
Sticb sang the part of Antigone, and Frau
Liihmanu, Herr Hcndrichs, Herr Stawiusky,
HeiT Bethge, and Herr Franz the other
parts. It was written at the command of
the King of Prussia, who ordered Mendels-
sohn to compose music to Antigone and to
CEdipus Tyrannus. On March 12, 1845,
Mendelssohn announced that the music to
CEdipus at Kolonus was ready for perform-
ance and the sketch of QSilipus Tyran-
nus finished ; but the latter was never
given, and the MS. has been lost. QSdipus
at Kolonus was given in Berlin, Nov. 10,
184G, and first in London at the Crystal
Palace, June 13, 1876. It contains an in-
troduction and nine numbers. Published
in 1851. Breitkopf & Hiirtel, Mendelssohn
Werke, Serie xv., No. IIG. Music to So-
phocles's tragedy by Eduai'd Lassen, Wei-
mai", Feb. 7, 1874 ; and a dramatic cantata
for chorus, soli, and orchestra, by Theodore
Gouvy, op. 75, Berlin, 1887. — Grove ; Musi-
cal World (1854) ; Allgem. mus. Zeitg.,
xlviii. 178 ; Mendelssohn's Letters from
1833 to 1847, 346 ; Athenaeum (1876), i.
CEDIPUS TYRANNUS, incidental mu-
sic to the tragedy of Sophocles, by John
K. Paine, first performed under the compo-
ser's direction, at the first representation of
that play in Greek, at Sanders Theatre,
Harvard University, Cambridge, Mass., May
17, 1881. This is the most scholarly work
written by an American composer. The
prelude has beeu frequently played at con-
certs. The music consists of an orchestral
introduction, choruses, six odes, and a
postlude. Music to this play has been
written also hy Charles Villiers Stanford,
for a performance at Cambridge, England,
Nov. 22-26, 1887.— Upton, Standard Can-
tatas, 281.
O ELSA ! NUE EEST JAHR AN DEINER
SEITE. See Lohengrin.
OELSCHLEGEL, JOHANN LOHE-
LTUS, born at Loschau, near Dux, Bohemia,
Dec. 31, 1724, died at Prague, Feb. 22,
1788. Organist and church composer ; en-
tered the order of Premonstrants at Prague
in 1747, and was ordained a priest in 1755.
He then studied harmony and composition
under Sehling and Habcrmann, and for many
years had charge of the music in his mon-
astery, which he enriched with one of the
best organs in Boh(!mia, after devoting
years of study to the principles of organ
building. Works : Iniiocentia et pietas bo-
nam causam, etc., oratorio, Strahow, 1760 ;
5 other oratorios, ib., 1756, 1758, 1759 ;
Operetta natalitia, a mystery, ib., 1761 ;
do., 1762 ; Pastoral mass ; Slissa brevis ;
Requiem ; 11 Rorato coeli ; 49 motets ; 18
Stationes Theophorica; ; 16 offertories ; 12
hymns of St. Norbert, for 2 voices and or-
gan ; Hymn, do., for 4 voices, 4 violins, 2
trumpets, and organ ; 3 Te Deum ; 2 Salve
Regina ; Responses for 4 voices and small
orchestra ; Cantata for the jubilee of an ab-
bot.— Dlabacz ; Fetis ; Meusel, Lexikon, x.
186 ; Wurzbach.
OESTEN, THEODOR, bom in Berlin,
Dec. 31, 1813, died there, March 16, 1870.
Pianist ; learned to jjlay on string and wind
instruments from the town-musician Po-
se
O EWIGES
litzki at Fiirstenwakle and the pianoforte
from a scboolmastei-, and made many j'outh-
fiil attem23ts at composition. On returning
to Berlin lie studied composition under
Bohmer, the pianoforte and singing under
Dresclike, and clarinet under Taune ; then
entered the Academy of Arts, where lie was
the pupil of Rungenhagen, G. A. Schneider,
and A. W. Bach, and settled in Berlin as a
teacher. His music is sentimental, brill-
iant, eas}-, and exceedingly popular. He
had many imitators, including his sou JLix.
Works : Symphonies, masses, quartets,
motets, fugues, and about 400 pianoforte
pieces. — Mendel ; Fetis ; do., Supplement,
ii. 284.
O EWIGES FEUER, O URSPEUNG
DER LIEBE, Cantata Festo Pentecostes,
for soli and chorus, with accompaniment of
three trumpets, drums, two oboes (two
flutes), strings complete, and continuo, by
Johann Sebastian Bach (Bachgesellschaft,
No. 34) ; published, with additional accom-
j)auiments bj' Robert Franz, in full and pi-
anoforte score (Breslau, Leuckart). — Sjiitta,
ii. 5.57.
OFFENBACH, JACQUES, born in Co-
logne, June 21,
1819, died in
Paris, Oct. 5,
1880. The son
of a Jewish can-
tor, he went early
to Paris, and stud-
ied the violon-
cello a year at the
Conservatoire un-
der Vaslin ; then played in the orchestra
of the Opera Comique, and wrote music to
parodies on La Fontaine's jsoems. After
appearing as violoncellist in concerts with
little success, he was appointed chef d'or-
chestre at the Theatre Fran5ais, where his
composition of the Chanson de Fortunio in
Alfred de Musset's "Chandelier " was well
received. He used every means of keeping
his name before the public, and at last, in
1855, had a theatre of his own, the Boufifes
Parisiens, which was situated at first in the
Salle Lacazes of the Champs Elysees, and
soon removed to the Theatre Comte in the
Passage Choiseul, where many of his most
popular productions were brought out. In
18GG he gave up this theatre, and had his
works performed at different houses ; in
1872 he took the Theatre de la Gaite, but
resigned it to Vizentini in 1870, and then
made an unsuccessful American tour, which
he described in his "Notes d'un musicien
en voyage " (Paris, 1877). On his return
home he devoted himself to composition,
and suffered much from the gout. His nu-
merous works have enjoyed an immense
jjopularity. He was the founder of that
species of operetta known as opera-bouffe,
and, although he has had many imitators,
none of them have equalled him in comic
verve or fertility of melodic invention. In-
deed, he has been the only writer of opera-
bouffe to whom the term " man of genius "
can properly be applied. Works — Operet-
tas : Les alcoves, Paris, 1847 ; Mai'ietta, Co-
logne, 1849 ; Pepito, Paris, 1853 ; Oyayaye,
Entrez, messieurs, mesdames, Une nuit
blanche, Les deux aveugles, Le reve d'une
nuit d etc, Le violoneux, INIadamc Papillon,
Perinette, i^a-Ta-Clau, 1855 ; Un jjostillon
en gage, Troiub-al-Cazar, La rose de Saint-
Flour, Les dragces du bapteme, Le soixante-
six, Le financier et le savetier. La bonne
d'enfants, 1856 ; Les trois baisers du diable,
Croquefer ou le dernier des j)aladins, Dra-
gonette. Vent du soir ou I'horrible festin,
Une demoiselle en loterie, Le mariage aux
lanternes, Les deux pecheurs, Les petits
prodiges (with Jonas), 1857 ; Mesdames de
la Halle, La chatte metamorphosee en
femme, Orphee aux enfers, 1858 ; Un mari
a la porte, Les vivandieres de la graude
armee, Geneuieve de Brabant, 1859 ; Le
Carnaval des revues, Daphnis et Chloe,
Barkouf, Le papillon, ballet, 18G0 ; La
Chanson de Fortunio, Le pont des soupirs.
Monsieur Choufleury restera chez lui (with
M. de Saint-Remy — Due de Morny), Apo-
thicaire et perruquier, Le roman comique,
37
OFT ON
1861 ; Monsieur et madame Denis, Le
voyage de MM Duuanan pcre et fils, 1862 ;
Les Bauards, 1863 ; Liscben et Fritzcben,
L'amour cbauteur, II signor Fagotto, Les
Georgiennes, La fee du Rbin, Le fifre en-
cbante, Jeanne qui pleure et Jean qui rit,
La belle HeK'ne, 1864 ; Coscoletto, Les Bei--
ge)-s, 1865 ; Harbe-lilene, La vie parisienne.
' B-flat major, witb accompaniment of strings
complete, in Handel's L' Allegro, il Pensie-
roso, ed il Moderate, Part I., No. 20.
OGGI AERIVA UN REGGI]\IENTO.
See Barber of Seville.
OGINSKI, Prince ISHCHAL KLEOFAS,
born at Guzow, near Warsaw, SejDt. 25,
1765, died in Florence, Oct. 31, 1833. Pu-
1866 ; La grande ducbesse de Gcrolstein, La pil of Kozlowski ; was grand treasurer of
permission de dix beures. La leyou de cbant, I Litbuania and senator of tbe Russian Em-
Robinson Crusoi-, 1867 ; L'ile de Tuliisatan,
Le cbateau a Toto, La Perichole, 1868 ; La
princesse de Trebizonde, Fert-Vert, La rfiua,
Les bi'igands, La i-omance de la rose, 1869 ;
Boule de neige, 1871 ; Le roi Garotte, Fleu-
rette, Fantmtio, Le corsaire noir, 1872 ; Les
braconniers, Pomme d'api. La jolie parfu-
meuse, 1873 ; Bagatelle, Madame I'Ai'cbi-
duc, 1874 ; Wittington et son cbat, Les
bannetous. La boulangure a des ecus, Le
voyage dans la lune, La Creole, 1875 ; Pi-
pire. During bis sojourn in Paris, in 1823,
tbe great violinist Baillot played witb bim
in quartets. Works : 14 polonaises ; Songs
witb Frencb and Italian words. — Fetis ; So-
wifiski ; Mendel ; Scbilling.
0 GRAND SAINT-DOMFSriQUE. See
Africaine.
OH! ARABY, DEAR ARABY. See
Oberon.
0 HAUPT TOLL BLUT UND WUN-
DEN, cboral in F major, for Core I. and
^^^t-w^.
errette et Jacquot, La boite au lait, 1876 ; H., with accompaniment of two flutes, two
Le docteur Ox, La Foire Saint-Laurent, oboes, strings complete, organ, and con-
1877 ; Maitre Peronilla, 1878 ; La Maro- tiuuo, in Jobann Sebastian Bacb's Passion
caine, Madame Favart, 187'J ; Belle Lu- ' uacb Mattbilus, Part U., No. 63. Tbe mel-
ody is by Hans Leo Hass-
ler, and was first pub-
lished in 1601, as a sec-
ular song, Mein G'miitb
ist mir verwirret.
OH! COME DA
QUEL Dl. See Semi-
ramide.
OH, GIOJA CHE SI SENTE. See Lucia.
OH ! HAD I JUBALS LYRE, soprano
aria of Acbsab, in A major, witb accompani-
ment of violins in unison and bass, in Han-
del's Joshua, Act m.. Scene 3. Published
also separately, with the accompaniment
filled out by Otto Dresel (Leipsic, Breit-
kopf & Hartel).
O HIMJIEL ! LASS" DICH JETZT ER-
See Tannhiiuser.
rette, 1880 ; Mademoiselle Moucboron, 1881 ;
Les conies d'Hoifmann, comic opera, 1881.
— Fetis ; do., Supplement, il 284 ; La-
rousse ; Mendel ; Riemann ; Wurzbach ;
Ambros, Bunte Blatter, Serie H., Die mu-
sLkalische Wasserpest ; Atlantic Monthly,
xxix. 508 ; International Review, x. 286.
OF GIRLHOOD'S HAPPY DAYS. See
Rose of Castile.
O FORTUNE, A TON CAPRICE. See ' FLEHEN
lioberl le Diable.
6 FRANCE, O MA PATRIE ! See Dm
d'Olonne.
OFT ON A PLAT OF RISING
GROUND, soprano aria of 11 Pensieroso, in
OH, JOYOUS, HAPPY DAY. See Rose
of Castile.
OH, LOVELY PEACE, soprano aria of
An Israelitish Woman, in G major, with
accompaniment of two flutes, strings com-
OH, SLEEP
plete, ami continue, in Handel's Judas
MaccabiBUS, Act III.
OH ! QU'IL EST BEAU. See Postilion
de Lonjumeau.
OH, SLEEP, WHY DOST THOU
LEAVE ME ?, soprano aria of Semele, in E
major, with accompaniment of continuo, in
Handel's Semele, Act H., sc. 2. Published
also separately, with the accompaniment
filled out by Otto Dresel (Leipsic, Breit-
ko2:)f & Hiirtel).
OH ! 'TIS A GLOEIOUS SIGHT. See
Obei'oyi.
OH ! 'TIS PLEASANT. See Oberon.
OH! WHY ART THOU SLEEPING?
See Oberon.
OH, WOULD THAT I. See Puritan's
Daughter.
O ISIS UND OSmiS. See ZauberJlOte.
OIvEGHEM, JOANNES (Okenghem,
Okekam, Oekenheim, etc.), born at Ter-
moude {?), East Flanders, about 1-115-20,
died at Tours (?) in 1513. He is supposed
to have got his musical education at the
Maitrise of the Antwerp Cathedral, where,
in 1443, he was a singer. Tlie story that
he was a pupil of Binchois is probably un-
true. In 1444 he gave up his position at
Antwerp. In 14G1 he was the head of the
chapel of Charles VII. of France. Louis XI.
made liim treasurer of Saint-Martin at Tours.
He was also in the service of Charles VIII.
In 1484 he made a trip to Flanders, accom-
panied by several pupils, and was honoured
with a splendid banquet at Bruges. He
retired from service shortly before the ac-
cession of Louis Xn., 1498, and probably
spent the rest of his days in Tours. Oke-
ghem was the founder and head of the
second, or great, Netherlandish school ; he
was long considered the inventor of canonic
and contrapuntal art, and was called the
Father of Music. He, however, was not
the inventor, but one of the great early de-
velopers of counterpoint and canon. He
gave life and vigor to the older, more stiff
and awkward counterpoint of Dufay, Bin-
chois, and other masters of the first Nether-
landish school ; he counted among his pu-
jsils many of the greatest names of the next
generation, Josquin Despres, de la Rue, and
others, and his was the most potent and
widely exerted musical influence of the
period. His reputation during his life
was universal, and at his death composers
like Josquin, Lujji, and others honoured
his memory with commemorative works.
Works : Missa cujusve toni, in Liber XV.
missarum (Petrejus, Louvain, 1538) ; Six
motets, 3-4 voc, and a seqvience. Miles
miraj probitatis, in Canti C (Petrucci, Ven-
ice, 1503) ; An enigmatic canon in S. Hey-
den's Ars canendi, Glarean's Dodekachor-
don, etc. (solutions in Burney, Hawkins,
Forkel, Fetis, Kiesewetter's Verdienste der
Niederlilnder, Riemann's Notenschrift, etc.);
Fragments of Missa prolationum, in Hey-
den's Ars canendi and Bellermann's Kontra-
punkt ; do. of Missa cujusve toni (ad om-
nem tonum) in Glarean's Dodekachordon ;
Mass, De plus en plus, MS. in Pontifical
Chapel, Rome ; 2 do., Pour quelque peine,
and Ecce ancilla Domini, MS. in Brussels
Library ; Motets in MS. in Rome, Florence,
and Dijon ; 6 masses, an Ave, and some
motets in Van der Straeten ; Kj'rie and
Christe, 4 voc, from Missa cujusve toni, in
Rochlitz. — Ambros, iii. 170 ; Fetis ; Grovo ;
Riemann.
O'KELLY, JOSEPH, born, of Irish par-
entage (?), at Boulogne-sur-Mer, France, in
1829, died in Paris, January, 1885. Pian-
ist, pupil of Osborne and Kalkbrenner, and
in composition of Dourlen and Halevy, in
Paris. Works : Le lutin de Galwaj', opera,
Boulogne, 1878 ; La zingarella, do., Paris,
1879 ; Paraguassii, poeme lyrique, 1855 ;
Ruse contre ruse, ojDeretta ; Cantata, Ami-
ens, 1867 ; Cantata for the Centenary of
O'Connell, Dublin, 1878 ; Justice et charite,
sacred cantata, Versailles, 1878 ; Songs and
pianoforte music. — Fetis, Supplement, ii.
28G.
OLD HUNDREDTH TUNE, THE, a
hymn-tune popular in England and Amer-
ica, the authorship of which is unknown.
39
OLD
It was the melody adapted to Beza's version
of Psalm CXXXr\\, iucluded by bim in
the Psalms which he added to the Genevan
Psalter in 1551. The earliest copy of the
Psalter with the tunes is dated 1554
Louis Bourgeois, the musical editor of that
book, arranged the tune in its present form.
It is probably an adaptation of a poj)ular
tune of the 15th century. It resembles the
tune sung in France at that period to the
words, " II 11 y a icy celluy qui n'ai sa belle ;"
and in Holland to, "Ik had een boelken
uitercoren, die ik met Hai'ten minne." It
is found with different endings in the
earhest Flemish Psalter, " Souter Liedekeus
ghemalct ter eeren Gods " (Antwerjj, 1540) ;
in Utenhoves Dutch Psalter, "Hondert
Psalmeu Davids," printed by John Daj-e
(London, 1561) ; in a French translation of
the Psalms with music by Marot and Beza
(Lyons, 1563) ; in Claude Goudimel's fa-
mous collection of tunes (Paris, 1565) ; in
Este's Psalter (1592) ; and the same melody
is in several English and German tune-
books, with variations regarding the value
of the notes. The Genevan tune was first
sung in England to Kethe's version of Psalm
C, "All people that on earth do dwell,"
and it was first called the " Hundredth "
tune. The word " Old " was added when
Brady and Tate's new version of the Psalter
appeared in 1696. In America it is com-
monly called " Old Hundred." The name
" Savoy " has been given to it, from its use
by the French congi-egation established in
the Savoy, London, in the reign of Charles
n. A monograph on this tune, with an ap-
pendix of 28 specimens of the melody as
sung from 1563 to 18i7, was jiublished by
the Eev. W. H. Haveigal in 1854.— Grove,
ii. 495 ; Bovet, Histoire du Psautier des
eglises reformees (Neufchatel and Paris,
1872) ; Douen, Clement Marot et le Psautier
Huguenot (2 vols., Paris, 1878-79).
OLD, JOHN, born at Totness, South
Devon, England, in 1829, still bring, 1890.
Pupil of John and Edward Loder, and at
the Royal Academy of Music of Bennett ;
afterwards studied under Thalberg and
Molique. Conductor of Torquay Choral
Society, 1852-55. Works: The Seventh
Seal, sacred drama, 1853 ; Heme the Hunter,
opera, 1879 ; The Battle, dramatic solo and
chorus, 185'4 ; Tenth of March, Overture
for orchestra (on marriage of Prince of
Wales) ; Anthems, songs, and part-songs ;
Pianoforte music.
O'LEARY, ARTHUR, born near Kil-
larne^-, Ireland, March 15, 1834, still living,
1890. Pianist, pupU at the Conservatoiium,
Leipsie, of Moscheles, Hauptmann, Richter,
Rietz, and Plaidy, and at the Royal Acad-
emy, London, of Bennett and Potter. Pro-
fessor at the latter, 1856. Works : Overture
and incidental music to Longfellow's " Span-
ish Student " (with Potter) ; Symphony in
C ; Concerto in E minor, for pianoforte and
orchestra ; Pianoforte music and songs.
His wife, Rosetta (Vinning) O'Leary, was
King's scholar at the Royal Academy in
1852, conjointly with J. F. Barnett. She
has published songs.
OLIMPIADE, L', opera seria in three
acts, text by Metastasio, music bj' Cimarosa,
first represented iu Naples in 1784. The
libretto, IMetastasio's masterpiece, was writ-
ten in 1733. Characters represented : Clis-
tene. King of Scione ; Ai-istea, his daugh-
ter ; Megacle, her lover ; Alcandro, Clis-
tene's confidant ; Licida, supposed son of
the King of Crete ; Amiuta, preceptor of
Licida ; and Argene, a Cretan in love with
Licida. The scene is at Olympia. Clisteue,
warned by the oracle of Deljjhi that he will
be killed by his son, abandons him, but real's
the twin-sister, Aristea, who becomes a
beautiful woman. She is loved by Megacle,
whose suit is refused by Clistene. Megacle
goes to Crete, where he is rescued from
brigands by Licida, with whom he forms a
strong friendship. Licida is mourning the
loss of his mistress, Ai-gene, who has been
banished to Elide as a shepherdess under
the name of Lycori. Licida goes to Elide
with Megacle to take part in the Olj'iupian
games, over which Clistene, who has prom-
40
OLIMPIADE
ised the hand of his daughter to the victor,
presides. Licida falls in love with Aristea,
and, unpractised in athletic sports, begs Me-
gacle to win her for him under his name.
Megacle, not knowing who is to be the re-
ward, promises, and on entering the lists
discovers that it is Ai'istea. At this point
Clistene recognizes Licida as his sou Phi-
linte, and Megacle and Aristea are united.
Megacle is one of Metastasio's most beau-
tiful characters. Cimarosa's rondo, "Nel
lasciarti, o jsrence amato," was published
by M. Gevaert in " Les gloires de I'ltalie."
—Hogarth, i. 340.
OLIMPIADE, L', opera seria in three acts,
text by Sletastasio, music by Leo, first rej)-
resented in Naples, Nov. 4, 1737. Two
numbers, the duet, " Ne' giorni tuoi felici,"
between Aristea and Megacle, and Clistene's
aria, " Non so donde viene," are among
Leo's best compositions.
OLIMPIADE, L", ojjera seria in three acts,
text by Metastasio, music by Pergolesi, first
represented in Eome in 1735. Although
the music is written iu the composer's best
stj'le, the opera was received with inditt'er-
ence because of its rival opera Nerone by
Duni. After Pergolesi's death, in 1727, the
opera was revived in Rome, with groat suc-
cess. It was first sung in England in 174;"2,
when the part of Megacle was sung by Si-
gnor Monticelli. — Clement et Larousse, 193 ;
Fiitis, Mus. ccdebres, 83 ; Hogarth, i. 385-
388 ; Burney, iv. 448 ; Waldersee, Samm-
lung mus. Vortriige, ii. 153.
OLKIPIADE, L', opera seria iu three
acts, text by Metastasio, music by Piecinni,
first represented in Eome in 1701 ; iu Na-
ples, with new music, 1771. This was one
of Piecinui's most successful operas, and
one of the best settings of this libretto.
— Hogarth, ii. 13G.
OLIMPLADE, L', ojjera seria in three
acts, text by Metastasio, music by Sacchini,
first represented iu Milan in 17(57. It is
said that this opera was deprived of a hear-
ing in Paris through the jealousy of Gluck.
Same text, music by Antonio Caldara, Vi-
enna, Aug. 28, 1733 ; by Domenico Alberti,
Venice, 1739 ; by Duni, about 1740 ; by
Giuseppe Scolari, about 1747 ; by Georg
Christoph Wagenseil, Vienna, 1749 ; by
Gaetano Latilla, Venice, 1752 ; by David
Perez, Lisbon, 1754 ; by Giuseppe Sarti,
Florence, about 1755 ; by Johann Adam
Hasse, Dresden, Feb. IG, 1750 ; by Niccolo
Jommelli, Stuttgart, 17G1 ; by Viucenzo
Manfredini, Moscow, 17G2 ; by Andrea Ber-
nasconi, Munich, 17G4 ; by Gassmaun, Ven-
ice, 1764 ; by Lampuguani, about 17G5 ; by
Ferdinando Giuseppe Bertoui, Naples, 17G5 ;
by Thomas Augustine Arne, London, April
27, 17G5 ; pasticcio by various composers,
arranged by Francesco Puttini, Cremoua,
17G8 ; by Giovanni Paisiello, Naples, 17G8 ;
by Pasquale Cesaro, ib., 1769 ; by Johann
Christian Bach, London, 17G9 ; by Traetta,
St. Petersburg, 1770 ; by Pasquale Aufossi,
Venice, December, 1774 ; by Baldassare
Galuppi, about 1775 ; by Joseph Mysli-
weczek, Rome, 1778 ; by Gaetano Andre-
ozzi, Leghorn, 1780 ; by Francesco Bianchi,
Milan, 1782 ; by Johann Gottfried Schwan-
berg, Brunswick, 1782 ; by Luigi Gatti,
Piacenza, 1784 ; by Giovanni Battista Bor-
ghi, Florence, 1785 ; by Alessio Prati, Na-
ples, 178G ; by Angelo Tarchi, Eome, 1790 ;
by Vincenzo Federici, Turin, 1790 ; by Jo-
hann Friedrich Eeichardt, Berlin, October,
1791 ; by Marcello Perrino, Naples, about
1795 ; by Michael Arditi, ib., about 1800 ;
and by Conti, ib., Oct. 9, 182G.
OLIVER, HENRY KEMBLE, born at
Beverly, Massachusetts, Nov. 24, 1800, died
iu Boston, Aug. 10, 1885. He was a boy
soj^rano in the choir of the Park Street
Church, Boston, in 1810, was graduated at
Dartmouth College in 1818, and taught in
Salem until 1844 ; in 1848-58 he was agent
of a manufacturing company in Lawrence,
of which he was mayor in 1859, and iu 18G1
-65 was treasurer of the State of Blassachu-
setts. In 1865 he returned to Salem, of
which city he was also mayor, aud in 1880
removed to Boston. He was organist and
musical director of several churches in Law-
OLIVETTE
rence and Salem, and the founder of a glee
club (1823), which existed twenty years,
and of a Mozart Association (182G), both in
the latter place. In 1883 he received the
degree of Mus. Doc. from Dartmouth Col-
lege. Works : The National Lyre, with
Tuckerman and Bancroft (Boston, 1848) ;
Collection of Church Music (ib., I860) ;
Original Hymn Tunes (ib., 1875). Federal
Street, one of his best known tunes, written
in 1832 (Mason's Boston Academy Col-
lection, 1835), was sung, set to his own
words, at the Boston Peace Jubilee in 1872,
under his own direction. Others of his
hymns are Morning, Harmony Grove, Bea-
con Street, Hudson, Elkton, and Merton.
He left also motets, chants, and a Te Deum,
and a volume of educational addresses
(Salem, 1856).
OLIVETTE. See Noces d'Olivette.
O LORD, HAVE MERCY. See Golt sei
mir gniidig.
O LORD, WTIOM WE ADORE, alto aria
of Joad, and chorus, in C minor, with ac-
companiment of strings complete, and con-
tinuo, in Handel's Athalia, Act L, Scene 2.
O LUCE DI QUEST' ANIMA. See
Linda di Cliamounix.
OLYilPIE, tragedie-lyrique in three
acts, text In' Dieulafoj- and Briflault after
Voltaire, music by Spontiui, first repre-
sented at the Academic Royale de Musique,
Paris, Dec. 22, 1819. The opera was not a
success at first, and in the following year it
was revised by Spontini, a happy conclu-
sion being substituted for the former tragic
ending. Cassandre, the supposed murderer
of Alexandre, and now King of Macedonia,
is in love with Olympic, Alexandre's daugh-
ter, whose life he has saved. They go to
celebrate their nuptials in the Temple of
Diana, where the officiating priestess proves
to be Statira, Alexandre's wife, who recog-
nizes her daughter, whom she had believed
dead. She denounces Cassandre as the
murderer of her husband, and joins King
Antigone, who is trying to wrest Cassan-
dre's throne from him and to gain the hand
of Olympic ; but, soon learning that Anti-
gone is the true murderer, she is reconciled
to Cassandre, and consents to his union
with Olympic. Original cast :
Statira (S.) Mme Branchu.
Olympie (C.) Mme Albert.
Cassandre (T) M. Nourrit.
Antigone (B.) M. Dcrivis.
The revision was first given in Berlin, Ger-
man translation by E. A. Hoffmann, ]\Iay
14, 1821, with enormous success, and Spon-
tiui was accorded a supremacy in the musi-
Pauline Milder-Hauptmann.
cal world which lasted until the first repre-
sentation of Der Freischiitz, five weeks later.
Mme Milder sang the part of Statira ; Mme
Schulz, Olymjoia ; Herr Bader, Cassander ;
and Herr Blume, Antigonus. In 1822 the
opera was again revised, changes being
made in the airs for Olympia and Cassan-
der, and in their duet in the first act, and a
new scene with terzetto was added to the
third act. The score was dedicated to
Friedrich Wilhelm HI., King of Prussia.
Published by Brandus & Dufour (Paris) ;
by Erard (Paris) ; and by Schlesinger (Ber-
lin, 1826). Same title, tragedie-lyrique in
three acts, text by Guillard, after Voltaire,
O MAN
music by Christian Kalkbrenner, previously
giveu at the Acadcmie Royale de Musique,
Paris, Dec. 18, 1798. Opera ou the same
text, music by Franz Horzizki, Rheinsberg,
about 1800. — Clument et Larousse, 495 ;
Grove, iii. GG9, G73 ; Fotis, viii. 94 ; La-
jarte, ii. 94; Berhner mus. Zeitg., i. 59,
313, 322 ; iii. 349, 357, 386, 393, 409, 417 ;
Cilcilia, ii. 1 ; iii. 51 ; Allgem. mus. Zeitg.,
xxi. 212 ; xxii. 101, 117 ; xxiii. 439 ; xxxi.
532.
O MAN, BEWAIL THY SIN. See 0
Mensch, bewein' deiu' Siinde.
6 MA TENDRE AMIE. See Pre aux
Clercs.
OMBRA FELICE, aria for alto, with or-
chestra, in F, text from Metastasio's Didone
abbandonata, music by Mozart, composed
in Salzburg in Sei^tember, 1776. Breitkopf
& Hiirtel, Mozart Werke, Serie vi., No. 14.
— Kochel, Verzeichniss, No. 255 ; Jahn, Mo-
zart, i. 422.
OMBRA MAI Ftr, mezzo-soprano arioso
of Serse, in F major, with accompaniment
of strings complete, in Handel's Serse. Act
I., Scene 1. A grandiose and generally con-
demnable transcription of this little pas-
toral air, for violin, hai-p, and full modern
orchestra, by Hellmesberger, has won un-
deserved i^opularity in concerts as the "Han-
del Largo."
OMBRE, L' (The Shade), French opera
in three acts, text by Saint-Georges, music
bj- Flotow, first represented at the Opera
Comique, Paris, July 7, 1870. Scene in Sa-
voy, reign of Louis XIV., during the per-
secution of the Protestants. The Comte de
RoUecourt, having protected a family of
Protestants from massacre, is sentenced to
be shot, but is saved by a friend, who ex-
tracts the balls from the muskets. He then
takes refuge in a village as a wood-carver,
under the name of Fabrice. Jeanne, a young
Protestant, who had loved him and had seen
him fall, flees to this village, and becomes
the servant of Fabrice, whom, however, she
does not recognize as the comte. Fabrice,
hearing that his friend is to suffer death for
the stratagem, reveals himself to Jeanne,
marries her, and is about to surrender when
the docteur Mirouet brings his pardon.
Mme AbeiUe, a widow, also loves Fabrice,
but finally consents to marry the good
doctor. There are only four characters in
the opera, and there is no chorus. Original
cast :
Fabrice (I'Ombre, T.) M. Monjauze.
Docteur Mirouet (B.) M. Meillet.
Jeanne (S.) Mile JVIarie Roze.
Mme Abeille (C.) Mile Priola.
It was given in London as " The Phantom,"
at Her Majesty's, Jan. 12, 1878.— Clement
et Larousse, 802 ; Athenreum (1870), ii. 89 ;
(1878), i. 96.
O MENSCH, BEWEIN' DEIN' SUNDE,
figured choral in E major for Coro I. and
n., accompanied by two flutes, two oboi
d' amore, strings complete, organ and con-
tinue, in Johann Sebastian Bach's Passion
nach Matthilus, Part I., No. 35. The mel-
ody is by Hans Leo Hassler (1525).
b MENSCH, ERRETTE DEINE SEELE,
alto aria in D minor, with accompaniment
of strings complete and continue, in Johann
Sebastian Bach's cantata Dom. I. post Trin-
it., O Ewigkeit, du Donnerwort (Bachge-
sellschaft. No. 20). Published also separate-
ly, with the accompaniment transcribed by
Robert Franz (Leipsic, Whistling).
O mO DOLOR. See Sonnambula.
O NA:MENL0SE FREUDE. See Fidelio.
ONLY BLEED, THOU DEAREST
HEART ! See Blute nur, du liebes Herz !
ON S'ETONNERAIT MOINS QUE LA
SAISON NOUVELLE. See Armide et
Renaud.
ON SHORE AND SEA, cantata for
chorus, soli, and orchestra, text by Tom
Taylor, music by Arthur S. Sullivan, writ-
ten for and first performed at the opening
of the Annual International Exhibition at
Albert Hall, London, May 1, 1871. The
action takes place in the 16th centurj', at a
port of the Riviera, and on a Genoese and
Moorish galley at sea. Characters repre-
ONSLOW
sented : La S^Josina, a Riviera woman, and
II Marinajo, a Genoese sailor, and clioruses of
sailors and mothers and wives of the seamen.
It was given at tlie Crystal Palace, London,
Dec. 2, 187G. Published by Boosey (Lou-
don, 1871). — Upton, Standard Cantatas, 334
ONSLOW, GEORGE, born, of English
parentage, at Clermont-Ferrand (Puy-de-
Dome), July 27, 1784, died there, Oct. 3,
1852. A grandson of the first Lord Ons-
low, he passed some years while a child in
O NUIT D'AjVIOUR. See Faust, Gounod.
O, PARDON aiE, aiY GOD. See Er-
barme dich, mein Gott.
OPFERLIED (Offering Song), song with
orchestral accompaniment in E, by Beet-
hoven, op. 121b, on Matthisou's song of
the same title. It was written in 1791, and
revised in 1801 or 1802, and again in 1803
or 1807, and completed in 1822-23 for the
tenor Ehler's benefit concert in Presburg.
The sketches are preserved in a note-book,
London, where he was pupil of Hiillmandel, ', in the KOnigliche Bibliothek, Berlin. Pub-
Dussek, and Cramer. Returning to France, ' lished by Schott (Mainz, 1825), as Chant du
Le began the study of the violoncello, and Sacrifice, by Schouenburg (Paris) ; by
played chamber music with his friends. He Breitkopf & Hiirtel, Beethoven Werke, Se-
Btudied under Reicha, and resided a while
in Vienna, then divided his time between
Clermont and Paris. In 1812 he succeeded
Cherubini as member of the lustitut. He
was a most industrious composer, and en-
joyed a great reputation during his lifetime.
Works — Ojjeras : L'alcalde de la Vega,
Paris, 1824 ; Le colporteur, ib., 1827 ; Le
due de Guise, ib., 1837. Four symphonies,
op. 41, 42, G9, 71 ; Nonet for flute, oboe,
clarinet, horn, bassoon, and string quartet,
op. 77 ; Septet for pianoforte, flute, oboe,
etc., op. 79 ; sextet for do., op. 30 ; 34
string quintets ; 3(5 string quartets ; 10
trios for pianoforte and strings ; G sonatas
for pianoforte and violin ; 3 do. for piano-
forte and violoncello ; Sonatas, variations,
toccatas, etc., for pianoforte ; Abel's Death,
solo scena for bass, with orchestra. — Grove ;
Riemann ; Fetis ; Mendel ; Schilling ; Har-
monicon (1828), 263 ; Riehl, ]\[us. Charak-
terkiJpfe, i. 293.
ON THE BANKS OF S^^'EET GA-
RONNE. See Obcron.
rie xxii.. No. 212. Another song on the
same poem, for voice with pianoforte, was
written by Beethoven in 1797. Published
without opus number by Breitkopf & Hiir-
tel, Beethoven Werke, Serie xxiii.. No. 233.
— Thayer, Verzeichniss, 144 ; Nohl, Beetho-
ven, iii. 393, 577 ; Nottebohm, Beethoven-
iana, 51 ; Ciicilia, viii. GG ; AUgem. mus.
Zeitg., xxvii. 704.
OPHELIA, symphonic poem for orches-
tra, by E. A. Macdowell, op. 22, first per-
formed in Germany in 1885 ; at Chickering
Hall, New York, Nov. 4, 188G.— Krehbiel,
Review (188G-S7), IG.
O PUISSANTE MAGIE. See Pardon de
Ploermel.
ORATORIO, FA-
THER OF. See Aiii-
muccia.
ORATORIO DE
NOEL (Christmas Or-
atorio), for chorus and
soli, with accompani-
ment of strings, harp,
and organ, text from
' the Bible, music by Saint-Saens, op. 12.
Published by Durand SchcEnewerk & Cie.
(Paris). Messe de Noel, oratorio, by Le-
sueur, first performed in Paris, Dec. 25,
1786.
ORAZJ E CURIAZJ, GLI (The Horatii
and Curiatii), Italian opera in two acts,
text by Sogi'afi, music by Cimarosa, first
OR
represented at La Fenice, Venice, in 1797.
In the original representation the part of
Orazia was sung by Giusejipa Grassini, af-
terwards noted for her relations with Napo-
leon,who made in it an extraordinary success.
She sang it also in London, in 1805, where
her acting in this piece was pronounced al-
most equal to that of Mi's. Siddons. It was
given in Paris in January, 1812, and on June
IC, 1813. Pubhshed by Simrock (Bonn).
Same title, Italian operas, by B. Marcello,
Venice, about 1720 ; by F. G. Bertoni, ib..
Giuseppa Grassini.
171G ; by Zingarelli, Turin, 1794 ; by Mar-
cos Portugal, Ferrara, 1799 ; by Capotorti,
Naples, 1800 ; and by Mercadante on Cam-
marauo's text, Vienna, 1830 ; Naples, ISIB.
OE CHE IL CIELO A ME TI RENDE,
aria for soprano with orchestra, in E-flat, by
Mozart, composed in Vienna in 1781. Breit-
kopf & Hilrtel, Mozart Werke, Serie vi.. No.
22. — KOchel, Verzeichniss, No. 374: ; Andre,
No. 175 ; Jahn, IMozart, iii. 8.
OR CHE IL DOVER, recitative and aria
(Tali e cotanti sono di Sigismondo i merti)
for tenor with orchestra, in D, text from an
opera, Licenza, written for the name-day of
the Ai'chbishop of Salzburg, music by Mo-
zart, composed in 1770. Breitkopf & Har-
tel, Mozart AVerke, Serie vi.. No. 3.— KOchel,
Verzeichniss, No. 36 ; Jahn, Mozart, i. 228,
414.
ORDINAIEE, RAOUL, born at Besanjon
in 1843, still living, 1890. Instrumental
and vocal composer, pupil of Pierre de
Mol. He is also a writer on music, and in
1866-70 was co-editor of " L'art musical."
Works : Morceaux symphoniques ; Serenade
for quintet ; Quartet for strings ; Trio for pi-
anoforte and strings ; Sonata for pianoforte
and violoncello ; Pianoforte music, choruses,
and songs. — Petis, Supplement, ii. 287.
O REST IN THE LORD. See Sei stiUe
dem Herru.
ORFEO, Italian opera in five acts, music
by Monteverde, first represented at the
court of Mantua, in 1607. The libretto, on
the story of Orpheus and Eurydice, was
thought until recently to have been writ-
ten by Rinuccini, the author of the text
of Peri's Euridice, but Alessandro Striggio
is now considered the true author. Char-
acters represented : La Musica, Prolo-
go ; Orfeo ; Euridice ; Speranza ; Caronte
(Charon) ; Pluto ; Proserpine ; Apollo ;
Chorus of nymj)hs and shepherds, and
chorus of infernal spirits. The oisera be-
gins with a prologue of five recitatives, the
first of which is spoken by the Genius of
Music to declare the argument and to en-
join silence from the audience. Thei-e are
no solo arias, but the work is composed of
duets, recitatives, choruses, and trios, and
closes with the Moresca, or Moorish Dance,
performed by shepherds. The score shows
many remarkable affinities with dramatic
music in its latest development, including
the constant employment of mezzo-recita-
tivo, supi^orted by characteristic instru-
ments ; and the great variety and efl'ect in
the orchestration. The introduction to
Wagner's Eheingold is identical in construc-
tion with the instrumental prelude to this
opera, called by Monteverde a Toccata, and
consisting of eight measures on the chord of
C with a single and sustained note in the
ORFEO
bass. It is directed to be played three times
before the rising of the curtain. For Orfeo
the composer emploj'ed an orchestra of
thirty-six instruments, at tliat time an un-
usual number. These were : 2 gravicem-
bali (supposed to be clavicembali, harpsi-
chords) ; 2 contrabassi di viola ; 10 viole
da braccio ; 1 ai-pa doppia ; 2 violini pic-
coli alia francese ; 2 chitarroni ; 2 organ i di
legno ; 3 bassi da gamba ; 4 tromboni ; 1
regale (a small organ) ; 2 cornetti ; 1 flau-
tino alia vigesima seconda ; 1 clarino, con 3
trombe sordine. The entire score ^Yas jjub-
lished in Venice in IGOi), reprinted by Ric-
ciardo Amadiuo (ib., 1G15). A copy of the
second edition, formerly owned by Sir John
Hawkins, is now in the Royal Library,
Buckingham Palace. The score was jjub-
lished by Robert Eitner and J. J. Maier, in
vol. ix. of the " Publication iilterer praktisch-
er und theoretischer Musikwerke " (Traut-
wein, Berlin, 1880). The descent of Or-
pheus into Hades was the first profane sub-
ject used for an opera ; and the first Orfeo,
text by Cardinal Riario, nephew of Sixtus
IV., music by Angelo Poliziauo, was first
represented in Rome in 1-480. Other Ital-
ian operas on the same subject, Orfeo ed
Euridice, by Fen-ari, Mantua, 1G07 ; Orfeo
ed Euridice, supposed to be by Zarliuo, or
Monteverde, given at the Louvre, Feb. 26,
1647, for the amusement of Louis XTV. at
the instance of Cardinal Mazarin, and the
first opera represented in Paris ; Orfeo ed
Euridice, text by Am-elio Aureli, music by
Sartorio, Venice, 1652 ; La lira d' Orfeo,
text by Miuato, music by Antonio Draghi,
Vienna, May 13, 1683 ; Orfeo ed Euridice,
in Italian, text by Pariati, music by J. J.
Fus, Vienna, Oct. 1, 1715 ; I lamenti d'
Orfeo, text by Pasquini, music by Georg
Christian Wagenseil, ib., July 26, 1740;
Orfeo, by Karl Heinrich Graun, text bj'
ViUati, Berlin, Blarch 27, 1752 ; Orfeo ed
Euridice, by Johann Christian Bach, Lon-
don, 1770 ; do., by Antonio Tozzi, Munich,
1775 ; do., by Bertoni, text by CaJzabigi,
Venice, 1776 ; Hanover, 1783 ; Orfeo, by
Pietro Guglielmi, London, 1780 ; Orfeo ed
Euridice, by Haydn, begun in London in
1793-94 (unfinished) ; and Orfeo, by Luigi
Lamberti, about 1800. Operas in German,
by Heinrich Schiitz, text by Rinuccini, Dres-
den, Nov. 20, 1638 ; Orpheus, by Rhein-
hard Keiser, text by Bressand, Brunswick,
1699, Hamburg, 17*02 ; by Georg Benda,
Berlin, 1788 ; Der Tod des Orpheus, by
Max von Droste-Hiilshoff, text by Jacobi,
1791 (not given) ; same text, music by Gott-
lob Bachmann, Brunswick, 1798 ; Orpheus,
by Cannabich, Munich, about 1800 ; by F.
A. Kanne, Vienna, 1810. Operas in French,
Orphee, by Jean Baptiste LuUy, text by
du Boullay, Paris, 1690 ; by Antoine Dau-
vergne, about 1770 (not given). Orpheus in
English, by J. Hill, London, 1740 ; and Or-
pheus, in Danish, by J. G. Naumaun, Co-
penhagen, 1785. Ballets : Orpheus und
Euridice, hj Heinrich Schiitz, for the be-
trothal of George H., Elector of Saxony,
Dresden, 1638 ; Orpheus, English masque,
by Martin Bladen, London, 1705 ; by J.
Dennis, ib., 1707 ; and John Weaver, ib.,
1717 ; Oiishee, in French, by Blaise, Paris,
1738 ; Orpheus and Euridice, English panto-
mime, by Rich, London, 1741 ; and ballets,
by William Reeve, ib., 1792 ; and by Peter
von Winter, ib., 1805. Ojjerettas : Le petit
Oi-phee, parodie-operette in four acts (au-
thor unknown), Havre, March 10, 1795 ;
by Prosper Didier Deshayes, Paris, 1793 ;
Orpheus der Zweite, by Ditters, Vienna,
1787 ; Oi-pheus und Euridice, in two acts,
by K. Meisl, ib., 1813 ; Orphee aux enfers,
in two acts, text by Hector Cremieux, mu-
sic by Ofl'enbach, Paris, Oct. 21, 1858 ; and
Orpheus im Dorfe, text by Karl Elmai",
music by Karl Ferdinand Conradin, Vienna,
Jan. 27, 1867.— Grove, ii. 358, 500; Ho-
garth, i. 17 ; Burney, iv. 27, 35 ; Hawkins,
iii. 430 ; Edwards, Hist. Opera, i. 7 ; Mu-
sical Times (London), March and April,
1800 ; Clement et Larousse, 500 ; Schlet-
terer, Studien zur Geschichte der franzO-
sischen Musik, iii. 183 ; Choquet, Histoire do
la musique dramatique en France, 76, 94 ;
46
ORFEO
Bitter, Eeform der Oper durcli Gluck, 123 ;
Ambros, Geschichte der Musik, iv. 353 ;
Reissmann, Geschichte der Musik, ii. 138 ;
Mus. Wochenblatt (1874), 185 ; Allgem.
mus. Zeitg., ix. 150 ; Vierteljahrsscbrift fiir
Musikwissenschaft, iii. 343.
OEFEO ED EURIDICE, ItaHau opera
in tbree acts, text by Calzabigi, music by
Gluck, first represented at tbe Hof Burg-
theater, Vienna, Oct. 5, 1762. The author
of the libretto rehearsed the actors, and
Gluck conducted the ojaera, which was the
first work written in his new dramatic
style. It was received with great enthusi-
asm. Among the best numbers are : The
chorus of the Furies ; the ballet-music ;
and Orfeo's tender and beautiful aria in C
major, "Che faro senza Euridice," accom-
panied by the strings, sung after he has
taken the forbidden glance at Euridice as
she follows him from Hades. She is re-
stored by Amore, aud the opera ends haj)-
pily. Original cast :
Orf eo Signor Gaetano Guardini.
Euridice Signora Marianna Bianchi.
Amore Signora Lucia Clavarau.
The opera was given in Frankfort-on-the
Main in 1761, in Parma at the marriage
fute of the infanta in 1769, in London in
1770, and at a concert in the Conservatory,
Milan, May 24, 1813. It was represented
in Paris as Orpliee et Euridice, Aug. 2, 1774,
translation by Moline. The autograph is
in the Koj-al Library, Vienna. The full
score was published at the expense of Count
Durazzo at a cost of 2,000 livres. It was
sent to Favart, who gave it to Moudouville,
and the latter had it printed by Chambon
(Paris, 1764). This edition is very rare.
—Marx, Gluck und die Oper, i. 294-329 ;
Wiener Diarium (1762), No. 80 ; Bitter, Ee-
form der Oper durch Gluck, 244 ; Cramer,
Magazin der Musik (1784), ii. 459 ; Schmid,
Gluck, 90 ; Desnoiresterres, Gluck et Pie-
cinni, 48 ; Hogarth, ii. 194-204.
ORFEO E EURIDICE, cantata for one
voice with orchestra, by Pergolesi, fii'st
performed in 1736. One of Pergolesi's
best works. Published in Rome (1738).
It is included in Choron's " Principes de
composition des ecoles d'ltalie " (3 vols.,
Paris, 1808).
ORGELBUCHLEIN (The Little Organ-
Book), a collection of forty-five chorals, by
Johann Sebastian Bach, for beginners in
organ playing. It was compiled in CiJthen,
and was intended for a lesson-book for his
son Wilhelm Friedemanu and others. The
chorals are treated in canon form and in
strict counterpoint, and in many the con-
trapuntal elements of the music reflect the
emotional meaning of the words with great
fervour. The autograph, in the Konigliche
Bibliothek, Berlin, bears the words " Dem
hochsten Gott allein zu Ehren, Dem Nilch-
sten draus sich zu belehren." Mendelssohn
owned an autograph by Bach of the Orgel-
biichlein, containing thirty-eight chorals.
This was in the possession of Herr Ernst
Mendelssohn-Bartholdy in 1879, and it is
supposed that this is the older of the two
MSS., for there is a slight difference in
the reading of several of these chorals, the
most of which are supposed to have been
composed while Bach was organist at Wei-
mar. Many pages of the Orgelbiichlein
remain blank, inscribed only on the up-
per staff with the first lines of the chorals
which Bach intended to elaborate. The
chorals completed are : I. Nun komm' der
Heiden Heiland ; II. Gott, durch deiue
Giite ; HI. Herr Christ, der einzige Gottes
Sohn ; IV. Lob sei dem allmiichtigen Gott ;
V. Puer natus in Bethlehem ; VI. Gelobet
seist du, Jesu Christ ; VH. Der Tag der ist
so freudenreich ; VHI. Von Himmel hoch,
da komm' ich her ; IX. Vom Himmel kam
der Engel Schaar ; X. In dulci jubilo ; XI.
Lobt Gott, ihr Christen, allzugleich ; XII.
Jesu meiue Freude ; XJH. Christum wir
sollen loben schon ; XIV. Wir Christen-
leut' ; XV. Helft mir Gottes Giite jireisen ;
XVI. Das alte Jahr vergangen ist ; XVH.
In dir ist Freude ; XVHI. Mit Fried' imd
Freud' ich fahr' dahin ; XIX. Herr Gott,
4T
OEGIANI
nun scUeuss den Himmel auf ; XX. O
Lamm Gottes uuscbuldig ; XXI. Christe,
du Lamm Gottes ; XXU. Chiistus, der uns
selig macht ; XXHI. Da Jesus an dem
Kveuze stund ; XXIV. O Mensch, bewein'
dein Sunde gross ; XXV. Wir danken dir,
Herr Jesu Christ ; XXVI. Hilf Gott, dass
mir's gelinge ; XXVII. Clu-ist lag in Todes-
banden ; XXVIII. Jesus Christus, uuser
Heilaud ; XXJX. Christ is erstanden ; XXX.
Erstanden ist der beil'ge Christ ; XXXI.
Erschienen ist der herrliche Tag ; XXXII.
Heut' triumphiret Gottes Sohu ; XXXIII.
Komm, Gott, SchOpfer, heiliger Geist ;
XXXrV. Herr Jesu Christ, dich zu uns
wend ; XXXV. Liebster Jesu, wir sind
hier ; XXX\T[. Dies siud die heil'gen zehn
Gebot ; XXXM^I. Vater unser im Himmel-
reich ; XXXVIII. Durcb Adam's Fall ist
ganz verderbt ; XXXIX. Es ist das Heil
uns kommen her ; XL. Ich rnf zu dir, Herr
Jesu Christ ; XLI. In dich hab" ich gehof-
fet, Herr ; XLCI. Wenn wir in hochsten
Nothen sein ; XLHI. "Wer nur den li<>ben
• Gott li'isst walten ; XLIV. Alle Menscheu
mtissen sterben ; XLV. Aeh wie nichtig,
ach wie fliichtig. Edited by Wilhelm Rust
for the Bach-Gesellschaft, year XXV. (Leip-
sic, 1875).— Spitta, Bach, i. 588-592 ; 601-
601 ; 818 ; Spitta, Bach (Bell), i. 597-603 ;
611-615 ; 647-652 ; Winterfeld, Der Evan-
geliche Kirchengesang, iii. 415.
ORGL^I, Don TEOFILO, Italian com-
poser of the second half of the 17th cen-
tury, died at Udine about 1714. Dramatic
and church composer, maestro di cappella of
the cathedral at Udine. Works — Operas :
II vizio depresso, e la virtti coronata, ovvero
r Eliogabale riformato, Venice, 1686 ; Dio-
clete, ib., 1687 ; Le gare dell' ingauno e del
amore, ib., 1689 ; II tiranno deluso, Vicen-
za, 1691 ; L' onor al cimeuto, Venice, 1703 ;
Armida regina di Damasco, Verona, 1711.
Many compositions for the church. — Fetis.
ORGITANO, RAFAELLO, born in Na-
ples in 1780, died in Paris, in 1812. Drama-
tic composer, son of Paolo Orgitano (1745-
98 ?), pupil of Sala. Works : L' iufermo ad
arte, opera buffa, Naples, 1803 ; Non cre-
dere alle apparenze, do., ib., 1804 ; Arsinoe,
opera ; Jefte, oratorio ; La Passione di N.
S., cantata for 3 voices ; Endimioue, can-
tata ; Canzonette, etc. — Fetis.
ORIANA. See Amadigi di Gallia.
ORLANDI, FERNANDO, born at Parma,
Italy, in 1777, died at Munich in 1840.
Dramatic composer, pupil of Rugarti at
Colorno, and of Ghiretti at Parma, then at
the Conservatorio della Pieta de' Turchini,
in Naples, of Sala and Tritto in counter-
point. On his return to Parma he obtained
employment in the court orchestra, and
soon won a brilliant rejjutation through his
operas, although they were of little merit
and void of inspiration. lu 1806 he was
called to Milan, as vocal instructor at the
pages' institute, and acted in the same ca-
jiacity at the Conservatorio, since 1809, and
in Munich since 1828. Works : I furbi
alle nozze, Rome, 1802 ; L' amore strava-
gante, Milan, 1802 ; L' amore deluso, Flor-
ence, 1802 ; H liore, Venice, 1803 ; La
sposa contrastata, Rome, 1804 ; II sartore
declamatore, Slilan, 1804 ; Nino, Brescia,
1804 ; La villanella fortunata, Turin, 1804 ;
Le nozze chimeriche, Milan, 1805 ; Le nozze
poetiche, Genoa, 1805 ; H Corrado, Turin,
1806 ; La melodanza, I raggiri anioi'osi,
Milan, 1806 ; II balordo, Venice, 1807 ; La
dama soldato, Genoa, 1808 ; L' uomo bene-
fico, Tui'iu, 1808 ; L' amico dell' uomo,
1809 ; II luatrimonio per svenimento, 1811 ;
II quiproquo, II cicisbeo burlato, Milan,
1812 ; Zulemo e Zelima, 1813 ; Rodrigo di
Valeuza ; La Fedra. — Fetis.
ORKiNDINI, GIUSEPPE MARIA, born
in Bologna, Italy, about 1690, died (?).
Dramatic composer, pupil of Padre Dome-
nico Scorpioni ; he was maestro di cajijDella
to the Grand-duke of Tuscany, and became
a member of the Accademia Filarmonica,
Bologna, in 1719. Works : Farasmane,
1710 ; La fede tradita e vendicata, Venice,
1713 ; Carlo, re d' Allemagna, ib., 1714 ;
L' innocenza giustificata ; Merope, 1717 ;
Antigone, Bologna, 1718 ; Lucio Papirio,
ORLANDO
Venice, 1718 ; Ifigenia in Tauride, 1719 ;
Paride, Giiselda, Bologna, 1720 ; Nerone,
Venice, 1721 ; Orontea, Milan, 1724 ; Be-
renice, Venice, 1725 ; L' Adelaide, ib., 1729 ;
La donna nobile, 1730 ; Massimiauo, Ven-
ice, 1730 ; II Temistocle, Florence, 1737 ; Lo
scialacquatore, 1715. Oratorios : Giuditta,
Aucona, 1723 ; Gioas, re diGiuda, Florence,
1746.— Futis.
ORLANDO, Italian opera in tbree acts,
text by Braccioli, music by Handel, first
represented at the King's Theatre, London,
Jan. 27, 1733. The autograph, in Buck-
ingham Palace, is dated at the end of the
second act, Nov. 10, 1732, at the end of the
third, Nov. 20, 1732. It contains the last
songs which Handel wrote for Seuesino.
One of these, " Giil 1' ebro mio ciglio," has
an accompaniment for two violette marine,
which were played by the brothers Pietro
and Prospero Castrucci, who introduced
that instrument into England in 1732.
The aria, " Sorge infausta," was sung by
Siguor Tasca at the Handel commemora-
tion, May 27, 1784. Original cast : Orlan-
do, hero (C), Signor Senesiuo ; Angelica,
Queen of Catai, in love with Medoro (S.),
Signora Strada ; Medoro, African prince,
Angelica's lover (A.), Signor BertoUi ; Do-
rlnda, a shepherdess (S.), Signora Celeste
(Gismondi) ; and Zoroastro, a Persian ma-
gician and friend of Orlando (B.), Signor
Montagnano. Published by Walsh (Lon-
don, 1733) ; edition by Chrysander, for
the Handel - Gesellschaft (Leipsic, 1881).
—Chrysander, Handel, II., 252 ; Rockstro,
Handel, 180 ; Schoelcher, Handel, 122 ;
Marshall, Handel, 87 ; Burney, iv. 362 ;
id., Handel Commemoration, 49 ; Grove, i.
319 ; iv. 267.
ORLANDO GENEROSO, Italian opera,
text by Hortensio Mauro, music by Steffani,
first represented in Brunswick in 1696.
Other Italian operas on Tasso's hero. La paz-
zia d' Orlando, by Giacomo Griffino, Lodi,
1692 ; Orlando, by Steffani, text by Mauro,
Brunswick, 1696 ; by Domenico Scarlatti,
on Sigismondo Capeci's text, Rome, 1711 ;
Orlando, by Maurizio Cacciati, about 1710 ;
Orlando furioso, by Ristori, on Braccioli's
text, Venice, 1713 ; Same text, music by
Vivaldi, ib., 1714 ; Same text, music by An-
tonio Bioni, Baden, 1725, Breslau, 1725 ;
by Giacomo Macari, Venice, 1727 ; II nuovo
Orlando, by Niccolo Picciuui, Naples, 1763;
Le pazzie d' Orlando, by Pietro Gugliemi,
London, 1771 ; by Pasquale Anfossi (?), Vien-
na, June 19, 1877 ; Ritter Roland, by Haydn,
on Nuuziato Porta's text, Eszterhaz, 1782,
Presburg, 1787, Dresden, 1792 ; Orlando
furioso, by Agostino Lofifredo, Naples, 1831 ;
and Orlando, German opera, by Fr. Adami,
Schwerin, Jan. 1, 1848. See Roland.
OR LET THE MERRY BELLS, aria of
L' Allegro, for soprano or tenor, in D ma-
jor, with accompaniment of two violins and
bass, in Handel's L' AUegi'o, il Pensieroso,
ed il Moderato, Part I, No. 26.
ORLOWSKI, ANTONI, born in Warsaw
in 1811 (?), still Hving (?), 1890. Violinist,
pupil at the Conservatorium, Warsaw, of
Bielawski, and in composition of Eisner ;
won in 1823 the first prizes for violin and
pianoforte. After 1827 he passed some
time in Germany, and in 1830 went to
Paris, where he studied under Lesueur ; then
settled at Rouen, where he conducted the
theatre orchestra and the philharmonic so-
ciety. Works : Le mari de circonstauce,
opera, Rouen, 1834 ; The Invasion of Sjjain
by the Moors, ballet, Warsaw, 1827 ; Quar-
tet for pianoforte and strings ; Trio for do. ;
Sonata for jiianoforte and violin ; Duo for
do. ; Polonaises, rondos, caprices, etc., for
pianoforte. — Fetis ; Sowiuski.
ORPH^E ET EURIDICE, French opera
in three acts, text by Moline, translated from
Calzabigi, music by Gluck, first represented
at the Acadcmie Royale de Musique, Paris,
Aug. 2, 1774. The role of Orphee, which
had been written for a contralto, was trans-
posed for a high tenor, six measures were
added to his first song in the infernal re-
gions, three to his second, three to the "Che
faro senza Euridice," and one to the chorus
of the happy shades ; " Torna o bella al tuo
49
orphEe
consorte ; " and the symphonic description
at Orphee's entrance to the Elysian Fields
was reinstrumented. The new numbers in-
cluded : Amour's first song, " Si les doux
accords de ta lyre ; " that of Euridice with
chorus, " Get asile aimable et tranquille ; "
the aria di bravura inserted for Legros,
" L'esjjoir renait dans mon ame," taken
from Bertoni's Tancredi (Venice, 1778) ;
and several new airs for the ballet. The
French edition, which was played many
1 ^. \s( y : '
^^
Hastreiter, as Orpheus.
years at the Acadumie, was engraved with
many errors, and coiTections by an unknown
hand. Act I. presents Orphee's lament
over Euridice's tomb, and the entrance of
Amour, who brings to Orphoe permission
from the gods to seek her in Hades. Act
IL Orphoe in Pluto's realms, where he re-
covers Euridice. Act IH. Their journey
to the upi^er regions, when Orphee, turn-
ing to see if Euridice follows, loses her ;
Amour appears and aids Orphee in recov-
ering her a second time, and Eui-idice re-
turns to the world amid the rejoicing of
nymphs and shepherds assembled in the
Temple of Love. The opera ends with a
chaconne. The second act, in which the
plaintive and ethereal songs of Orphi'e are
most effectively contrasted with the gro-
tesque and wild music of the furies and de-
mons, is a masterpiece. Original cast :
Orphee M. Legros.
Euridice Mile Sophie Arnould.
Amour Mile Eosalie.
This opera was given at the Acadt'mie
nearly every year from 1774 till 1833, and
again in 1848, receiving 297 representa-
tions. When Adolphe Nourrit sang the
part of Orphue he substituted the air, " O
transport, 6 desordre extreme," from £cho
et Narcisse, for the aria di bravura in Act
L This opera was given in Berlin, April
20, 1808 ; in Stockholm in 1815 ; and again
in Berlin, German translation by G. D.
Sander, Oct. 15, 1818. It was represented
in Weimar under Liszt's direction, on the
birthday of the Grossfiirstin Marie Pau-
lowna, Feb. 16, 1854, for which perform-
ance Liszt, who admired this work greatly,
wrote his symphonic poem, Orpheus. The
opera was revived at the Theatre Lj'riquo,
Paris, Nov. 18, 1859, with the score revised
by Berlioz. It was given at Covent Garden,
London, in Italian, with Mme Viardot as
Orjiht'e and Mme Sax as Euridice, June 27,
1860. It was first represented in New York
with i\Ime Vestvali as Orphee, May 27, 1863 ;
and was given there hj the American Opera
Company, at the Academy of Jlusic, in Eng-
lish, Jan. 8, 1886, with Mme Helene Hast-
reiter as Orpheus and Miss Emma Juch as
Euridice. Gluck dedicated the score to the
Queen. It was published by Pacini (Paris,
1774). Editions by Mme V. Launer (Vas-
sal, Paris, 1774) ; by Carl Ivlage (Schles-
inger, Berlin, 1818) ; by Berlioz (Paris,
1859) ; by Alfred DOrffel (Gustav Heinze,
Leipsic) ; by F. Brissler (Peters, Leip-
sic) ; and by Sh" Charles Halle, translation
by Henry F. Chorley (Chappell & Co., Lon-
don).— Clement et Larousse, 502 ; Lajarte,
i. 278 ; Liszt, Gesammelte Schriften, iii. 1 ;
60
ORPHEUS
Berlioz, A travers chants, iii. ; Schmid, Bit-
ter von Gluck, 223 ; Marx, Gluck uud die
Oper, i. 291-329 ; ii. 13i ; Eeissmann,
Gluck, 106 ; Bitter, Reform der Oper durcli
Gluck, 214 ; Desuoiresterres, Gluck et Pic-
ciuni, iii. ; Naumann, Deutsche Toudichter,
106 ; Jahn, Mozart, ii. 232 ; Hauslick, Mo-
derne Oper, 3 ; Fetis, iv. 31 ; Favart, MC-
moires et correspoudance Utteraires (Paris,
1808), ii. 113 ; Revue et Gaz. mus. de Paris
(1859), 385 ; "Waldersee, Sammlung mus.
Vortriige, iv. 272 ; Naumann (Ouseley), ii.
830 ; Allgem. mus. Zeitg., x. 525 ; xx. 675 ;
Athenreum (1860), i. 58 ; ii. 33 ; Ki-ehbiel,
Review (1885-86), 105.
ORPHEUS, symphonic poem for orches-
tra, by Liszt, op. 4, No. 4, first performed
at a rein-esentation of Gluck's Orphee, in
Weimar, Feb. 16, 1854. It was first given
at a concert in Weimar in November, 1854.
Published by Breitkopf & Hartel (Leipsic,
1856), also by Schuberth (Leipsic). Ar- 1
ranged for two pianofortes by the composer,
and for pianoforte, violin, and violoncello by
Saint-SaOns, Breitkopf & Hartel (Leipsic,
1887).— Pohl, Liszt, 221 ; Revue et Gaz. \
mus. de Paris (1855), 352.
ORPHEUS' SELF MAY HEAVE HIS
HEAD, soprano aria of L' Allegro, in G
major, with accompaniment of strings com-
plete, in Handel's L' Allegro, il Pensieroso,
ed il Moderato, Part H., No. 38.
OESINI, ALESSANDRO, born in Rome,
Jan. 24, 1842, still Uving, 1890. Dramatic
and church composer, pupil of Mariano
Astolfi, Ricci, Raimoudi, and Muti Papaz-
zurri. After having conducted various
orchestras in Italy, he returned to Rome,
was elected member of the Accademia di
Sta. Cecilia, and in 1870 became its libra-
rian, and in 1873 professor of vocal music.
Works : 5 operas, not performed ; La mo-
dista alia corte, ballet, Rome, 1865, and 7
other ballets. Lamberto di Pavia, cantata,
1864 ; n genio di Roma, do., 1870 ; Can-
tata for the inauguration of the monument
to Cavour, Turin, 1873 ; Ave Maria alia
Palestrina ; Benedictus ; Inuo della Pente-
eoste, chorus for female voices ; Salve del
mar, o Stella, with various instruments ;
several pieces for orchestra ; 12 Etudes
d'harmonie pratique. — Fetis, Supplement,
ii. 288.
ORSINI, ANTONIO, born at Naples,
June 13, 1843, still living, 1890. Pianist,
pupil of Autoine Coop and in theory of
Baron Staifa ; appeared with success as a
virtuoso in his native city, in Rome, Paris,
and London. Works : Benvenuto Cellini,
opera, Naples, 1875 ; Fughe per quattro
voci. He published also : Norme per ap-
prendere la composizione, etc., and Schema
di un indirizzo all' arte del canto. — Futis,
Sujjplement, ii. 288.
ORSUCCI, POMPEO, born at Lucca,
May 21, 1665, time of death not known.
Church composer, dean of the collegiate
church of San Michele in Foro, Lucca. He
was considered one of the most able and
learned composers of sacred music ; his
works are stUl performed and admired in
the churches of his native city. Works :
Missa in pastorale ; 2 Vexilla for 2 choruses ;
Pater noster for 2 voices ; Hymn to the
Trinity, do. ; Te Deums, hymns, motets,
psalms, litanies, etc.— Futis, Supplement, ii.
288.
ORTLIEB, EDUARD, born at Stuttgart,
drowned near there in 1861. Church com-
poser, pastor at Drakenstein. Works : Mass
for 4 voices with organ and small orchestra,
op. 1 ; 2 masses for 4 voices and orchestra,
op. 5 and 8 ; Mass for 4 voices and organ,
op. G ; Requiem for 3 voices and organ.
—Mendel.
ORTO, GIOVANNI DE (Jean Du Jardin,
de Horto), contrapuntist of the IGth cen-
tury. Nothing is known of his life, but he
was probably a Belgian by birth. Works :
Misse de Orto, containing 5 masses ; Domi-
nicalis, Jay j)ris amours, Lomme ai'me, La
' belle se sied ; Petite Camusette (Venice,
1505) ; Kyrie of a mass in Fragmenta mis-
sarum(ib., 1509); Lamentation of Jeremiah
(in Lamentationum Jeremia; prophetic liber
primus, ib., 1506) ; Ave Maria for 4 voices,
61
OETOLAN
and 11 cbausons for do. (in Harmonice mu-
sices odhecaton, Venice, 1500-1) ; Masses,
8ongs, and motets in manuscript. — Fetis ;
Mendel ; Riemann.
ORTOL.VN, EUGf:NE, born in Paris,
April 1, 1824, still living, 1890. Dramatic
composer, pupil of Berton and Haluvy at the
Conservatoire, whUe studying law at tlio
same time ; won tbe second grand pris in
1845, and after taking bis degree as doctor,
entered tbe ministry of foreign affairs. L.
of Honour ; Orders of Leopold and Stanislas.
"Works : Lisette, opera-comique, Tbeatre
Lyrique, 1855 ; La momie de Eoscoco,
oiseretta, Boufifes Parisiens, 1857 ; Tobie,
oratorio, Versailles, 1867 ; Sympbouic mu-
sic, and vocal melodies. — Futis, Supplement,
ii. 289.
ORTOL.\NI, AXGELO, born at Siena,
April 11, 1788, died tbere, April 18, 1871.
Pupil of Ritterfels, Deifebo Romagnoli, and
of Ettore Romagnoli, wboni be succeeded
as maestro di cappella at Santa Maria di
Proveuzauo, in 1838. Works : R giorno
delle nozze, opera (1835-3G ?), not per-
formed ; L' Arte del contrappunto, etc.,
published under tbe pseudonym Lotario
Gauleno (Siena, 1828). He published also
7 volumes of comedies and dramas (ib.,
1839), and Memoirs on tbe history of Siena
(ib., 1842).— Fetis, Supplement, ii. 289.
ORTOL.A.NI, TERENZIO, born at Pesaro,
Ancona, Sept. 4, 1799, died tbere, April 7,
1875. Church composer, pupil of Ripini
in harmony and counterpoint, then at tbe
Liceo, Bologna, of Padre Mattel. He was
maestro di cappella successively in several
cities in tbe Marches and tbe Romagna, and
then at the cathedral of Pesaro. "Works :
La pastorella delle Alpi, opera buflfa, Naples,
1830 ; Many masses, psahns, and other
church music ; 10 fugues for 8 voices and
figui-ed bass ; 100 fugues for 2 to 4 voices ;
10 cuxular canons. — Fetis, Supplement, ii.
200.
O RUDDIER THAN THE CHERRY,
bass aria of Polyphemus, in G minor, with
accompaniment of flute, two violins, and
continue, in Handel's Acts and Galatea, Act
H.
O SANCTISSniA, O PURISSBIA, a
hymn to tbe Virgin Mary, set to a melody
called tbe Sicilian Mariners' hymn, a tune
which was popular in Non-conformist chap-
els in England. It is still sung by tbe gon-
doliers in Venice, especially on St. Mary's
Day. The air, Sicilian Mariners', is included
in Miller's " Dr. "Watts's Psalms and Hymns
set to Music " (London, 1800). — Grove, iii.
491.
OSBORNE, GEORGE ALEXANDER,
-■: born at Limerick, Ire-
land, Sept. 24, 1806,
still living, 1800. Pi-
anist, j^upd in Paris
(1826) of Pixis and
Fetis ; later studied
under Kalkbrenner,
and was intimately ac-
quainted with Chopin
and Berlioz. In 1843
be settled in London and became a pojjular
teacher. "Works : Duets for pianoforte and
violiu (with de Beriot) ; Violin quartets ;
Pluie des Perles and other pianoforte mu-
sic including rondos, fantasias, and varia-
tions.— Fetis ; Mendel ; Grove.
OSGOOD, GEORGE LAURIE, born of
American parentage, in Chelsea, Massa-
chusetts, April 3, 1844, still Hving, 1890.
Tenor singer, pupil in 1800-62, on the organ
and in counterpoint, of J. K. Paine in Cam-
bridge ; in 1866 went to Europe and stud-
ied, in Berlin, composition under Haupt and
singing under Ferdinand Sieber ; in Halle
tbe German Lied under Robert Franz ; and
in Milan Italian vocal methods under Lam-
perti. After a successful concert tour in
Germany, he returned to America in 1872 ;
he made a concert tour with Theodore
Thomas in 1872-73, singing with success in
tbe principal cities of tbe United States.
He then settled in Boston as a teacher of
singing and tenor singer. Since 1875 be
has conducted tbe Boylston Club, and since
1882 be has been choir master of Emman-
OSSIAN
uel Church, Boston. His compositions are
mostly songs, some of which have had a
large sale.
O SINK' HEKNIEDER, NACHT DER
LIEBE. See Tristan und Isolde.
O SOMMO CARLO. See Ernmn.
OSSIAN, ou les bardes, French opera in
three acts, text by Dercy and Deschamps,
music by Lesueur, first represented at the
Academic Royale de Musique, Paris, July
10, 1804. The scene is in Caledonia ; the
story that of Ossian, the warrior-bard, son
of Fingal. One of the best numbers of the
opera is the dream in which Ossian believes
that he sees the future heroes of his race.
Original cast :
Ossian M. Lainez.
Hydala M. Lainez.
Duntalmo M. Cheron.
Rosmala Mile Armand.
The severe and plagal harmonies employed
caused one critic to say that at church Le-
sueur was "un musicien de theatre et au
theatre un musicien d'eglise." It was the
most successful opera represented at the
Academie since Sacchini's OEdipe a Colone,
and it was jjlayed from 1806 till 1811, re-
vived on May 31, 1814 and 1815, and on
Sept. 29, 1817, receiving G5 representations.
This work gave the new name. Academic
Imperiale, to the Opera-house. Napoleon,
who was fond of Ossian 's poems, greatly
admired Les bardes, and gave to its com-
poser the order of the Legion of Honour
and a gold snuflf-box. The score was dedi-
cated to Napoleon and published by Janet
(Paris, 1805). Same subject, Ossian's Harfe,
Danish opera, text by Baggesen, music by
Kunzen, Copenhagen, 1709. — Clement et
Larousse, 85 ; Clement, Mus. cel^bres, 241 ;
Lajarte, ii. 34.
OSTER-ORATORimi (Easter Oratorio),
by John Sebastian Bach. The author of
the text, which is very meagre, is unknown.
It is supposed that Bach wrote this oratorio
in 1736, and that it was first sung on Easter
Sunday, April 6, 1738. It describes John,
Peter, and the two Marj-s at the tomb of
Christ after the Resurrection, expressing
their longing to their Lord and rejoicing
that he lives again. The closing chorus
and the Sanetus of the B minor mass are
similar in construction. Both are written
in the form of the French ouverture, and
both are of two sections with a closing
movement in three-eighth time following
one in common time, with the change ef-
fected in the same manner. The form of
the numbers in this work shows Bach's ma-
ture hand. Characters rejiresented : Maria
Jacobi (S.) ; Maria Magdelena (A.) ; Petrus
(T.) ; and Johannes (B.). L Sinfonia ; II.
Adagio ; HI. Duetto, tenor and bass with
chorus, Kommt, eilet und laufet ; IV. Alto
recitative, O kalter Manner Sinn ; V. So-
prano aria, Seele, deine Specereien ; VI.
Tenor, bass, and alto recitative Hier ist
die Gruft ; VI. Tenor aria, Sanfte soil mein
Todeskummer ; VII. Soprano and alto rec-
itative In dessen Seufzen ; VIII. Alto aria,
Saget, saget mir geschwinde ; IX. Bass rec-
itative, Wir sind erfreut ; X. Chorus, Preis
und Dank bleibe, Herr, dein Lobgesang.
Edited by Wilhelm Rust for the Bach-
gesellschaft (year XXII., Leipsic, 1871).
— Spitta, Bach, ii. 421, 818 ; Spitta, Bach
(Bell), ii. 590, 714.
O StJSSE NACHT! EWGE NACHT.
See Tristan und Isolde.
OTELLO, Italian opera in three acts,
text by Berio, after Shakespeare, music by
Rossini, first represented at the Teatro del
Fondo, Naples, Dec. 4, 1816. The libretto
is very inferior. Many of the best scenes
of the tragedy are omitted, lago is a subor-
dinate character, and is converted into a
rejected lover of Desdemona, the charac-
ters of Cassio and Roderigo are blended
into one, and the nobility of Otello's nature
is suppressed. Desdemona falls by Otello's
dagger, with which the Moor kills himself
afterwards. In this work, which is the sec-
ond of his serious operas, Rossini continued
the reforms begun in Tancredi. The or-
chestration is richer than in any of his pre-
OTELLO
vious compositions, and the liberal treat-
ment of the horns and clarinets occasioned
much discussion. The recitatives are ac-
companied by the orchestra instead of the
pianoforte, as was the custom in Italy at
that time, although this instrument had
been banished from the orchestra in France
by Gluck in 1774, and stiU earlier in Ger-
many. Original cast :
Otello (T.) Signor Davide.
Eoderigo (T.) Signor Nozzare.
lago (T.) Signor BenedettL
Desdemona (S.) illle Colbran.
This opera was first represented in Leijjsic
in 1820, in Berlin, Jan. IG, 1821, at the
Bang's Theatre, London, with Camporese
as Desdemona, and Cuiioni as OteUo, May
16, 1822 ; and in Dresden in 1834. It was
first given in New York, Feb. 27, 1825, with
Manuel Garcia as Otello ; his son, Manuel,
lago ; Signora Garcia, Desdemona ; Signor-
ina Marietta Gar-cia (Malibran), Emilia; and
Mme Barbieri, Koderigo. Otello was a
favorite role of Tamberlik and of Garcia.
with great success by Pasta, Grisi, and
Patti, OteUo by Kubini and Tamberlik, and
Garcia, as Otetlo.
The latter acted with such passion that his
daughter, who sang Desdemona with great
eflfect, was afraid that he would actually
kiU her. Desdemona has also been sung
Pasia, as Desdemona.
lago by Tamburini and Ronconi. Otello
was translated into French by Rover and
Waez, and given at the Academie Royale
de Musique, Paris, Sept. 2, 1844, with
Mme Stolz as Desdemona and Duprez as
Otello. Published by Diabelli (Vienna) ;
by Schott (Mainz) ; and by Breitkopf &
Hiirtel (Leipsic). — Edwards, Rossini, 152 ;
Escudier, Rossini, 53, 69 ; Clement et La-
rousse, 505 ; Edwards, Lyrical Drama, ii.
22 ; Edwards, Hist. Opera, ii. 157 ; Vie de
Rossini par un dilettante, 137 ; Hanslick,
Modeme Oper, 107; Grove, iii. 167;
Ebers, Seven Years of the King's Theatre,
164 ; Allgem. Mus. Zeitg., xxii. 252, 344,
785, 801 ; -triii. 121 ; xxvi. 667 ; Berliner
Mus. Zeitg., L 429 ; u. 4, 13 ; iii. 133 ;
Harmonicon (1823), 79.
OTELLO, Italian opera in four acts, text
by Arrigo Boito, after Shakespeare, music
54
O TEMERAIIIO
by Verdi, first represented at La Scala,
Milan, Feb. 5, 1887, with great success.
Original cast :
Otello (T.) Signor Tamagno.
lago (Bar.) Signor Maurel.
Cassio (T.) Signor Paroli.
Eoderigo (T.) Signor Fomari.
Lodovico (B.) Signor Navanini.
Desdemona (S.) Signora Pantaleoni.
It was first given in New York at the Acad-
emy of Music under Signor Campanini's di-
rection, April IG, 1888, with Signor Marconi
as OteUo ; Signor Galassi, lago ; Signoi-a
Tamagno.
Tetrazzini, Desdemona ; and Signora Scal-
chi, Emilia. Otello was first represented in
London, May 18, 1889. Published by Ri-
cordi (Milan, 1887).— Signale (1887), "225,
257 ; Mus. Wochenblatt (1887), 91 ; Neue
Zeitschr. (1887), 71, 125 ; Krehbiel, Review
(1887-88), 113 ; Athensum (1889), i.
O TEMERARIO ARBACE, recitative and
aria (Per quel paterno amplesso) for so-
prano with orchestra, in B, text from Me-
tastasio's Artaserse, music by Mozart, com-
posed in Milan in 1770. Breitkopf &
Hiirtel, Mozart Werke, Serie vi.. No. 7.
— Kuchel, Verzeichniss, No. 79.
O TERRA, ADDIO. See Aida.
OTHMAYR (Othmayer), KASPAR, born
at Amberg, Palatinate, about 1519, died at
Nuremberg, Feb. 4, 1553. Vocal composer,
was rector at the convent school in Heidel-
berg, 1545, canon of St. Gumbert, in Ans-
pach, in 1547, and provost at Anspach in
1548. Works : 1 book of Tricinia ; do. of
Bicinia sacra ; Ode on the death of Luther ;
2 Latin motets ; Many songs in Georg For-
ster's collections. — Mendel ; Riemann ; Mo-
natsh. f. Musikgesch., vii. 163 ; viii. 10, 33.
OTHO \1SC0NTI, grand opera in three
acts, by Frederic Grant Gleason, op. 7.
The work is in MS., but selections have
been published by W. A Pond & Co. (New
York).
O THOU THAT TELLEST, alto aria
and choms in D major, with accompani-
ment of violins in unison, and continuo, in
Handel's Messiah, Nos. 8 and 9.
6 TOI QUI M'ABANDONNE. See
Pro2)hHe.
OTS, CHARLES, born at Brussels about
1775, died there in 1845. Violinist, passed
the greater part of his life at Ghent, teach-
ing music, and returned when quite old to
his native city. Works : La ruse villageoise,
opera-comique, Ghent, 1796 ; Jean Second,
ou Charles-Quint dans les murs de Gand,
do., ib., 1816 ; David Teniers, do., ib., 1818.
Dixit Dominus, Laudate pueri, Tantum
ergo, O salutaris, with orchestra, and other
church music. — Fetis.
OTTANI, BERNARDINO, born at Bo-
logna in 1735, died at Turin, April (Oct. ?)
26, 1827. Dramatic and church composer,
pujiil of Padre Martini. He was only
twenty-two when appointed maestro di cap-
pella at S. Giovanni in Monte ; three years
later he acted in the same capacity at the
Hungarian College, and in 1779 was of-
fered a similar position at the cathedral in
Turin. Works — Operas : Amor senza ma-
lizia, Venice, 1767 ; H maestro, Munich,
1768 ; L' isola di Calipso, Turin, 1777 ; Ca-
tone in Utica, Naples, 1777 ; La sprezzante
abbandonata, Rome, 1778 ; Le nozze della
citta, Florence, 1778 ; L' industria amorosa,
Venice, 1778 ; Fatima, Turin, 1779 ; Di-
done, ib., 1780 ; Arminio, ib., 1781 ; Le
Amazzoni, ib., 1784 ; La clemenza di Tito,
65
OTTO
ib., 1789. Forty-sis masses ; Vespers,
psalms, litanies, etc. — Fetis ; Mendel.
OTTO, (EKNST) JULIUS, born at KO-
/'^ ■'^^v nigsteiu, S a x o n j' ,
/ ^ Sept. 1, 1804, died
a"^*^ ^P. at Dresden, March 5,
1877. Yocal com-
poser, pupil of Wein-
lig and Uber, at the
Kreuzscbule in Dres-
den. He was in-
structor several years
at Bloebmann's Music
Institute, and in 1830-75 cantor at the
Kreuzkirche, also for a long time music di-
rector of the i^riucipal Lutheran churches,
and conductor of the Liedertafel. Works :
Das Schloss am Rhein, opera, Dresden,
1838 ; Der Schlosser von Augsburg, do.,
Augsburg. Oratorios : Hiob, Bitterfeld,
18-10 ; Des Heilands letzte "Worte, Dresden,
1844 ; Die Feier der Erlosten am Grabe
Jesu. Masses for male voices, motets,
hymns, and other church music ; Festival
cantatas ; Cyclus for male chorus ; Many
choruses for male voices in the collection
"Ernst und Scherz." His brother Franz
(1809-41) is also favourably known as com-
poser of choruses for male voices, and of
songs. He published 12 dances for orches-
tra.— Fetis ; Mendel ; Riemann.
OTTONE, Italian opera in three acts,
text by Nicola Haym, music by Handel, first
represented at the King's Theatre, London,
Jan. 12, 1723. It was written in 1722. It
contains a greater number of beautiful songs
than almost any opera of the period. The
subject is Otho I. the Great, King of Ger-
many (936-973) and Emperor of Rome
(962). Scene, Rome. Original cast : Ot-
tone. King of Germany and lover of Teo-
fane (C), Signor Senesino ; Teofane, daugh-
ter of the Roman commander of the Orient
(S.), Signora Francesca Cuzzoni, her first
appearance in Loudon ; Emireno, corsair,
called Basilio, brother of Teofane (B.), Si-
gnor Boschi ; Gismonda, widow of Beren-
gario, tyrant of Italy (S.), Signora Duras-
tanti ; Adelberto, sou of Gismonda (A.),
Signor Berenstadt ; and Matilda, Ottone's
cousin, betrothed to Adelberto (S.), Mi's.
Anastasia Robinson. This ojjera became
popular at once, and the gavotte at the end
of the overture, Burney tells us, was " played
throughout the length and breadth of the
land on every possible instrument, from the
organ to the salt-box," an instrument used
by clowns and j ugglers. It was often played
for a hornpipe or country-dance. In the
original autograph, in Buckingham Palace,
the overture is of four movements : An in-
troduction, and two fugues, between which
is the gavotte ; but Handel afterwards sub-
stituted the second fugue for the first,
closing with the gavotte, in which form the
overture was first printed with the opera
by Walsh (London, 1723). The first fugue
Handel transposed a semitone lower and
made it the second movement in the over-
ture to Giulio Cesare (1724). The sinfonia
in Act I. was afterward used by Handel for
his sixth oboe concerto. The aria, " Af-
fanni del peusier," was sung by Signor Pac-
chierotti at the Handel Commemoration,
May 27, 1784. Full score edited by Chry-
sander for the Hiindelgesellschaft (Leipsic,
1881). Same subject, Italian oijeras, Ot-
tone in Italia, text by Diani, music by Marco
Rosetti, Munich, 1670 ; Ottone il Grande,
text by Silvani, music by Paolo Biego, Ven-
ice, 1688 ; Ottone, text by Roberti, music
by Pollarollo, Venice, 1694 ; Ottone in Italia,
text by Lalli, music by Vivaldi, ib., 1713 ;
Ottone amante, text by Boccardi, music by
Luigi Tavelli, ib., 1726; and Ottone, text
by Salvi, music by Gennaro d' Alessandri,
Naples, 1740. — Chrysander, Handel, ii. 88 ;
Rockstro, Handel, 138 ; Schcclcher, Handel,
69 ; MarshaU, Handel, 71 ; Burney, iv. 286 ;
Mainwaring, Memoirs ; Burney, Handel
Commemoration, 63.
OUDRID Y SEGURA, CRISTOBAL,
born at Badajos, Feb. 7, 1829, died at Ma-
drid, March 15, 1877. Dramatic composer ;
went to Madrid in 1844, and began to pro-
duce some orchestral compositions in 1849 ;
66
OITI
soon won reputation as an orchestra con-
ductor in several theatres, became chorus-
master at the Italian opera in 1867, maes-
tro de capilla in 1872 at the Teatro de la
Zarzuela, and later at the Teatro del Ori-
ente. He wrote more than thirty zarzue-
las, given at Madrid, some of them con-
jointly with Barbieri, Gaztambide, Eogel,
Caballero, and others. The last one, El
consejo de los diez, was given after his
death, 1884— Futis, Sui^ploment, ii. 290.
OUI, C'EST MOI QUI VIENS ICI. See
Ambasmdrice.
OUI, VOUS L'AKRACHEZ A MON
AME. See GuiUaume Tell.
OLT JE VAIS ? See Huguenots.
Oil PEUT-ON ETRE MIEUX QUAU
SEIN DE SA FAjMILLE? (Where can
one be better off than in the bosom of one's
family ?), quartet in the oj^era of Lucile, by
Gretry, represented at the Italiens, Paris,
Jan. 5, 17G9. It was sung at Versailles,
July 15, 1789 ; at Carlton House, at the iirst
visit of George III. and Queen Charlotte to
the Prince of Wales, Feb. 3, 1795 ; and at
Korythnia, on the retreat from Moscow,
Nov. 15, 1812. It was adopted by the
Bourbons after the Restoration as a na-
tional air. — Grove, ii. 61G ; Clement et La-
rousse, 412 ; Larousse ; Masson, La lyre
franjaise.
OURS, L' (The Bear), symphony for or-
chestra in C, by Haydn, written in 1786 for
the society of the " Loge Olympique," in
Paris. It got its name from the finale,
which begins with a motive :i la cornemuse
(bagpijies), resembling a bear-dance. I.
Vivace assai ; II. Allegretto ; HI. Menu-
etto ; IV. Finale : Vivace assai. Published
by Andre, Haydn Sinfonien, No. 2 (Offen-
bach am Main). — Grove ; Reissmann, Haydn,
168.
OUSELEY, Rev. Sir FREDERICK AR-
THUR GORE, Bart., born in London Aug.
12, 1825, died at Hereford, April 6, 1889.
Pianist and organist, son of Sir William
Ouseley, Bart., to whose title he succeeded
in 18i-l. He early showed musical ability,
and composed an opera when only eight
years old ; was educated at Chi-ist Church,
Oxford (B.A., 1846;
M.A., 1849) ; was or-
dained in 1849, and
in 1849-51 was curate
at St. Paul's, Knights-
bridge. In 1855 he
succeeded Sir Henry
R. Bishop as profes-
sor there, and in the
same year was ap-
pointed in-ecentor of Hereford Cathedral;
in 1856 he became vicar of St. Michael's,
and warden of St. Michael's College,
Tenbury. He induced Oxford to confer
degrees in music, which the university had
not done before 1879. Mus. Bac, Oxford,
1850; Mus. Doc, ib., 1854; Mus. Doc,
Cambridge, 1862 ; Hon. LL.D., ib., 1883 ;
do., Edinburgh, 1885. Works : L' isola di-
sabitata, opera ; St. Polycarp, oratorio, 1855 ;
Hagar, do., 1873 ; The Lord is the true
God, cantata; 11 sei-vices ; 70 anthems;
About 35 preludes and fugues for the
organ ; Andantes ; Sonatas ; Glees and part-
songs ; Songs with pianoforte accompani-
ment ; Sestet and two quartets for strings ;
Pianoforte music. He was author also of
treatises on harmony, on counterpoint and
fugue, and on form and general composi-
tion ; edited Orlando Gibbons's sacred
works ; Cathedral services (1853) ; Aughcan
Psalter Chants (1872), with E. G. Monk ; con-
tributed articles to Grove's Dictionary of
Music and Musicians ; and edited Naumann's
History of Music (English translation by F.
Praeger). — Grove ; Fetis ; do.. Supplement,
ii. 291 ; Mendel, Ergiinz., 322 ; Riemann.
OU VAS-TU, PAUTRE GONDOLIER?
See Zampa.
OUVERTUEA DI BALLO (Overture to
the Ball), for orchestra, iu E-flat, by Arthur
S. Sullivan, first performed at the Birming-
ham (England) Festival, Aug. 29, 1870. It
is written in graceful and melodious dance-
rhythms. Published by Stanley Lucas (Lon-
don, 1869).— Athenfeum (1870), ii. 315.
OUYERTURE
OUVEETUEE FUE HAEMONIE-inj-
SIK (Overture for Wind-instruments), in C,
by Mendelssohn, op. 24. It was written in
1826. Andante con moto, Allegro vivace.
Published by Breitkopf & Hiirtel, Mendels-
sohn Werke, Serie vii., No. 29. — Hanslick,
Concertwesen in Wien, ii. 419.
OmTSKTURE, SCHERZO, UND FI-
NALE, for orchestra, by Schumann, op. 52,
first performed at the Gewandhaus, Leipsic,
Dec. G, 1841. I. Ouvertiire, Andante con
moto in E minor, Allegro in E ; II. Scher-
zo, Vivo in C-sharp minor ; HI. Finale, Al-
legro molto vivace in E. The work is in the
form of a symi>hony, but Schumann would
not give it this name because it had no
slow movement. He revised the finale in
1845. This work was first given in Dres-
den, Dec. 4, 1845 ; by the Philharmonic of
London, April 4, 1853 ; and by that of New
York in the season of 1857-58. Published
by Kistner (Leipsic, 1854). Breitkopf &
Hiirtel, Schumann W'erke, Serie ii., No.
1. — AUgem. mus. Zeitg., xliii. 1100 ; xlvii.
928 ; Maitland, Schumann, 78.
OLTERTUKE TRIOMPHALE, for or-
chestra, by Tschaikow.ski, op. 15. Its sub-
ject is the national hymn of Denmark. Pub-
lished by Jiirgenson (Moscow, between 1874-
79). AiTangeel for pianoforte for four hands.
OMUERO Y RAMOS, IGNACIO, born
at Madrid, Feb. 1, 1828, still Hving, 1890.
Organist, jsupil of one Gimeno, and of Lo-
desma ; in 1858 he was appointed assistant
professor at the Conservatorio. Works :
Fernando Cortcz, lyric drama, Madrid,
1848 ; La Cabana, zarzucla, ib., 1848 ;
About 200 compositions for the church.
— Fetis, Sujjplement, ii. 291.
OVER THE DARK BLUE WATERS.
See Oberon.
O WEINT UM SIE (Oh ! weep for those),
cantata for soprano solo, chorus, and orches-
tra, text from Byron's "Hebrew Melodies,"
music by Ferdinand Hiller, op. 49. Pub-
lished by Simrock (Bonn, between 1841-44).
OXFORD SYMPHONY, for orchestra, in
G, by Haydu, written for and first per-
formed under the composer's direction,
July 7, 1791, at Oxford, where he received
the degree of Mus. Doc. on the following
day. This symphony is j)ublished in the
London Philharmonic Catalogue as " Letter
Q ; " in Rieter-Biedermanu's as No. 2 ; and
in Peters's as No. 9. — Townsend, Haydn, 94 ;
Pohl, Mozart und Haydn in London, ii. 148.
OX HHNUET, THE (Die Ochsen-Meuu-
ette), Singspiel in one act, text from Hoff-
mann's " Le menuet du bceuf," music select-
ed by Ignaz Seyfried from Haj'dn's works,
first rei^reseuted in Vienna, Dec. 13, 1823.
The play is based on a story without founda-
tion, regarding a minuet that Haydu is said
to have written at the request of an Hun-
garian butcher for the wedding of his daugh-
ter, in acknowledgment of which the com-
poser was presented with a living ox.
Characters represented : Joseph Haydn ; his
niece, Therese ; Frau Barbara, the house-
keeper ; Istock, the butcher ; Jantschi,
Haydn's scholar ; and Eduard. Anvanged
for the i^ianoforte by C. Burchard (Bauer,
Dresden, 18G3). — Grove ; Allgem. mus.
Zeitg., xxvi. 41 ; xxxi. 791.
OZI, fiTIENNE, born at Nimes, France,
Dec. 9, 1754, died in Paris, Oct. 3, 1813.
Virtuoso on the bassoon, went to Paris in
1777, appeared in the Concerts Spirituels
two years later, was first bassoon player in
the royal, afterwards the imperial orchestra,
also in the Opera orchestra, and professor
at the Consei-vatoire. Works : 7 concertos
for bassoon, with orchestra ; 3 symphonies
concertantcs for clarinet and bassoon ; 24
duos for bassoons ; 6 do. for do. or violon-
cellos ; Airs varies for do. ; Slethod for bas-
soon (Paris, 1800).— Fetis ; Schilling.
O ZITTRE NICHT, METN LIEBEE
SOHN. See Zauherflbte.
PABST, AUGUST, born at Elberfeld,
Prussia, May 30, 1811, died at Riga,
July 21, 1885. Dramatic composer,
cantor and organist at Konigsberg, where
he was made royal music director in 1857.
58
PACCIIIONI
He became afterwards director of the Con-
servatorium at Riga. Works — Operas : Der
Kastellan von Krakau, given at Konigsberg,
1846 ; Unser Jobanu, ib., 1848 ; Die letzten
Tage von Pompeji, Dresden, 1851 ; Die
Longobarden (18C0, not given).
PACCHIONI, ANTONIO MAEIA, born
at Modena, July 5, 10.54, died there, July
15, 1738. Church composer, pupil of Mur-
zio Erculeo d' Otricoli in singing, and of
Giovanni Maria Bononcini in counterpoint ;
perfected his musical knowledge by the
study of Palestrina's works. In 1G94 he
became maestro di cajjpella at the cathe-
dral, and in 1722 to the Duke of Modena.
Works : Le porjjore trionfali di S. Iguazio,
oratorio {1G78) ; La gran Matilda, do.,
Modena, 1G82 ; Motets for 4 voices (Venice,
1687) ; Cantatas, motets for 8 voices, and
other church music in MS., iu the ducal
library, Modena. — Fetis ; Schilling.
PACELLI, ASPIKILIO, born at Varci-
ano, Italy, in 1570, died iu Warsaw, May 4,
1623. Church composer ; was at first maes-
tro di cajipella at the German college in
Rome, then in the Vatican, 1602-3, and
was called to Warsaw, in the same capacity,
by Sigismuud III., King of Poland and
Sweden, who caused a monument to be
erected to his memory in the Cathedral of
Warsaw. Works : Cantiones sacrte, for 5-
10 voices (Frankfort, 1604) ; do. for 5 to 20
voices (ib., 1608) ; Psalmi et motetti octo
vocum (ib., 1607) ; Psalmi, motetti et Mag-
nificat quatuor vocibus (ib., 1608) ; Madri-
gali, etc. — Fetis ; Mendel ; Schilling.
PACHELBEL, JOHANN, born in Nu-
remberg, Sept. 1, 1653, died there, March
3, 1706. Organist, with Buxtehude one of
the immediate precursors of Bach ; pupil
of Heinrich Schwemmer, then studied at
Altdorf and Ratisbon, and in 1674 went
to Vienna, where he became assistant or-
ganist, at St. Stephen's, to Kaspar Kerl,
which gi-eat artist naturally influenced him
very much. In 1677 he was court organist
at Eisenach and in 1678 organist of the
Predigerkirche iu Erfurt, whence he was
called to Stuttgart in 1690. The invasion
by the French army, in 1692, caused him
to take refuge at Gotha, where he was city
organist until 1695, when the post of or-
ganist, at St. Sebaldus, Nuremberg, was
given him, in succession to Wecker. Works :
Musikalische Sterbensgedanken, aus 4 va-
riirten Choriilen bestehend (Erfurt, 1683) ;
Musikalische Ergotzung, aus 6 verstimmten
Parthien von 2 Violinen, 2 Geigen und
Generalbass (Nuremberg, 1691) ; 78 Cho-
rale zum Prilambuliren (ib., 1693) ; Hexa-
chordum Apolliuis, aus 6mal variirten Arien
(ib., 1699) ; Tabulaturbuch geisthcher Ge-
siinge D. Martini Lutheri, etc., 160 Choral-
Melodien mit Generalbass und kurze fu-
gierte Vorspiele (MS., grand-ducal librarj-,
Weimar) ; Many other vocal and instru-
mental pieces in Franz Commer's " Musica
sacra," and other collections. His sou and
pupil, Wilhelm Hierouymus (born at Erfurt
in 1685), who was organist at Wehrd, and
from 1706 of the Jakobskirche at Nurem-
berg, published : Musikalisches Vergniigen,
bestehend in eiuem Praeludio, Fuga, und
Fantasia, etc. ; Fuga in F-dur fiirs Klavier
(Nuremberg, 1725) ; Praeludium fiir die
Orgel (Berlin, 1726). — Doppelmeier, Von
Niirnberger Kiiustlern, 257 ; Fetis ; Ger-
ber ; Mattheson, Ehrenpforte ; Reissmann,
Gesch., ii. 241 ; Riemann ; Schilling ; Win-
terfeld, Kircheugesang, ii. 589, 626.
PACKER, JOSEPH ADALBERT, born
at Daubrawitz, Moravia, March 29, 1818, died
at Gmiinden, Upper Austria, Sept. 3, 1871.
Pianist, mostly self-taught, afterwards in
Vienna pupil of Preyer in harmony and
countei-point ; made successful concert tours
through Austria and Germany, and taught
in Vienna several years. His compositions
for the pianoforte, consisting of nocturnes,
caprices, etudes, variations, etc., number
more than seventy works. — Wurzbach.
PACINI, GIOVANNI, born in Catania,
Sicily, Feb. 19, 1796, died at Pescia, Dec.
6, 1867. Dramatic composer, son of a fa-
mous tenor, who took him while a child to
Rome, where his musical education was
PACINI
beguu ; then studied at Bologna under
Marches! and Mattel, and in 1808-12 at
Venice under Furlanetto. Educated to oc-
cupy a position in some church choir, his
first compositions were church music, but
when eighteen he wrote an opera, Anuetta e
Lucindo, which had some success at Venice ;
and uj) to 1834 he had produced forty-two
operas in the principal Italian cities with
varying success. In 1825 he married Ade-
laide Castelli, of Naples, and became maestro
di cappella to the Empress Marie Louise,
widow of Napoleon I. The total failure of
his ojiera Carlo di Borgogua at Venice in
1835 inducing him to give up com^sosition
for a time, he went with his family to Via-
reggio, near Lucca, where his mother lived,
and there founded a suocessful music school,
for which he wrote a history of music, a
treatise on counterpoint, and one on har-
monj'. Several of his pupils have since
risen to eminence. The school was after-
wards transferred to Lucca. In 1840 he
brought out at Naples with flattering and
deserved success his opera of Saffo, his best
known, as it is probably his best, work. He
married three times, and had three children
by each wife, of whom four daughters and
his onlv son, Luigi, survived him. He was
musical du'ector of the music school at
Florence, and a knight of several orders.
In 1851 he went to Paris to superintend the
production of his L' ultimo dc' Clodovei, a
new version of Gli Ai-abi uelle Gallic which
Napoleon III. had applauded at Home
twenty-seven years before. Pacini wrote,
besides eight}' operas, more than seventy
masses, oratorios, and cantatas, of which
the cantata for the Dante centenary best
deserves mention. He was an imitator of
Rossini, and when that master's peculiar
style passed out of fashion, Pacini's success
began to wane. He was a facile and melo-
dious, but very cai'eless writer ; his knowl-
edge of the voice and of the requirements |
of the stage was great, and he excelled in
writing arias to exhibit the best qualities in
the voices of individual singers. The vari-
ety and beauty of his cabalettas have been
much jJiaised. During his Viareggio jse-
riod he made quite a study of the works of
Mozai-t, Haydn, and Beethoven, for all of
whom he had a profound admiration, and,
in his subsequent operas he tried his best
to throw off his Rossini habit.
Works : I. Operas : Annetta e Lucindo,
Venice, 1811 ; Gli spousali de' silfi, Milan,
1814; ; L' evacuazione del tesoro, Pisa, 1815 ;
Rosina, Florence, 1815 ; II matrimonio per
procura, Milan, 1815 ; II carnevale di Mi-
lano, ib., 1815 ; Piglia il montio come viene,
ib., 1815 ; II seguito di Ser Mercantonio (se-
quel to Stefano Pavesi's Ser Mercantonio),
Venice, 1815 ; L' iugenua, ib., 181G ; Dalla
befla il disingauuo, Milan, 1817 ; La sacei-
doiessa d' Irminsul, Trieste, 1817 ; Adelaide
e Comminghio, Milan, 1818 ; II barone di
Dolsheim, ib., 1818 ; La sposa fedele, ib.,
and Venice, 1819 ; H falegname di Livonia,
Milan, 1819 ; L' ambizione delusa, ?, about
1820 ; Atala, ?, about 1820 ; Vallace, ossia
r eroe scozzese, Milan, Feb. 24, 1820 ; La
schiava di Bagdad, Tuiin, 1820 ; La gio-
ventii di Enrico V., Rome, 1821 ; Cesai-e
nelle Gallic, ib., 1822 ; La vestale, Milan,
Feb. 6, 1823 ; Temistocle, Lucca, 1823 ;
Isabella ed Enrico, Milan, June 12, 1824 ;
AlessaiiJro nell' Indie, Naj^les, 1824 ; Ama-
zUia, ib., 1825 ; L' ultimo giorno di Pom-
peja, Naples, Nov. 19, 1825, and Pai-is, Oct.
2, 1830 ; La gelosia corretta, Milan, 182G ;
Niobe, Naples, Nov. 19, 1826 ; Gli ArabineWe
Gallie, ossia 1' ultimo de' Clodovei, Milan,
1827, and Paris (with 7 new numbers),
1855 ; Margherita d' Angiti, Najsles, Nov.
19, 1827 ; I crociati in Ptolemaide, Trieste,
about 1827 ; I cavalieri di Valenza, Milan,
June 15, 1828 ; II talismano, ossia la terza
crociata in Palestina, ib., June 10, 1829 ;
Cesare in Egitto, ?, about 1830 ; I fidanzati,
ossia il contestabile di Chester, Milan, 1830 ;
Giovanna d' Arco, ib., March 14, 1830 ; Gi-
anni di Calais, Naples, 1830 ; II corsaro,
Rome, 1831 ; Ivanhoe, Venice, April, 1832 ;
R convitato di pietra, Viareggio, 1832 ; Gli
Elvezi, Naples, 1833 ; Ferdinando duca di
60
PACINI
Valeuza, ib., 1833 ; Irene, ossia 1' assedio
di Messina, ib., Nov. 30, 1833 ; Maria re-
gina d' Ingbilterra, Milan, 1834:, and as
Maria Tudor, Palermo, Feb. 11, 1843 ; Carlo
di Borgogna, Venice, February, 1835 ; Saffo,
Naples, Nov. 27, 1840 ; Furio Camillo, ib.,
1841; L' uomo del mistero, ib., 1841; II
duea d' Alba, Venice, 1842 ; Adolfo di Wer-
beck, Najjles, 1842 ; La fidanzata corsa, ib.,
1842 ; Medea, Palermo, December, 1843 ;
Luisella, ossia la cantatrice del Male di
Napoli, Naples, January, 1844 ; L' Ebrea,
Milan, Feb. 27, 1844 ; Lorenzino de' Medici,
ossia Elisa Valasco, Eome, March 5, 1845 ;
Buondelmonte, Florence, 1845 ; Stella di
Napoli, Naples, 1845 ; La regina di Cij^ro,
ossia Catarina Cornaro, Turin, 1S4G ; Me-
rope, Naples, 184G ; Ester d' Engaddi, Tu-
rin, 1847 ; Allan Cameron, Venice, 1848 ;
Malvina di Scozia, Naples, 1851 ; ZafBra,
ib., 1851 ; II Cid, Milan, March 12, 1853 ;
Romilda di Provenza, Naples, 1853 ; La
punizione, Venice, 1854 ; Margherita Pus-
terla, Naples, April, 1856 ; II saltimban-
co, Eome, May 24, 1858 ; Lidia di Bru-
selles, Bologna, November, 1858 ; Gianni di
Nisida, Eome, November, 1860 ; E mula-
tiere di Toledo, ib., June, 1861 ; Belfegor,
Florence, 1861 ; Don Diego di Mendoza,
Venice, 1867 ; Berta di Varuol, Naples,
April, 1867 ; Niccolo de' Lapi (posthumous),
Florence, Oct. 29, 1873.
II. Oratorios : La destruzione di Gerusa-
lemme, Sala dei Cinque Cento, Florence,
1858 ; E carcere Mamertino, Eome, Sala del
Capitolio, 1867 ; E trionfo di Giuditta ; E
trionfo della religione ; Sant' Agnese. in.
Cantatas and hymns : L' omaggio piii grato,
Pavia, 1819 ; II puro omaggio, Trieste,
1822 ; Cantata for Franyois I, Naples,
1825 ; Cantata for the wedding of Maria
Cristina of Naples, 1830 ; II felice imeneo,
Naples, 1832 ; Cantata for Pius IX., Eome,
1848 ; Cantata for the Emperor of Brazil,
1851 ; Cantata for the Emperor of France ;
Cantata for the wedding of Prince Ferdi-
nand of Naples ; Cantata for the wedding
of the Prince of Tuscany ; Eossini e la
patria, cantata for the Eossini fetes at Pe-
saro ; L' Italia cattolica, cantata, for the
Accademia dei Quiriti, Eome ; Hj'mu to
Guido d' Arezzo ; Hymn to the Viceroy of
Egypt ; Hymn for San Marino ; Hymn to
the Virgin ; Choruses for the Qildipus of
Sophocles, Vicenza, 1847. IV. Masses, etc.:
Messa alia Madonna del Castello, Milan,
1822 ; Messa a 8-voci, dedicated to Greg-
ory XVI., 1827 ; Mass performed at Via-
reggio in 1835 ; Messa di Eequiem, dedi-
cated to the town of Catania ; Mass sung
at Monte Carlo ; Messa di Eequiem to the
memory of Michele Puccini ; Messa di
Eequiem for the removal of Bellini's body
to Italy ; and a large number of masses in
3 and 4 parts, with accompaniment of or-
gan and contrabass, or with grand orches-
tra ; two SEserere, a De profundis, and sev-
eral vesper services for 4 and 8 parts with
grand orchestra. V. Instrumental music :
Dante symphony ; Octet for three violins,
violoncello, oboe, bassoon, horn, and con-
trabass ; Six string quartets ; Quartet, ded-
icated to Mme Pacini ; Quartet, dedicated
to Lucca, two trios for pianoforte, violin,
and violoncello ; A number of duos, trios,
and quartets for the pianoforte and wind
instruments ; Several morceaux for piano-
forte and harp ; Collection of 6 songs ;
do. of 5 songs and a duet ; and a num-
ber of songs for one and several voices.
VI. Theoretical works : Corso teorico-
pratico dil ezioui di armonia ; Principj
elementarj col metodo del meloplasto ;
Ceuni storici sulla musica, e trattato di
contrajJiJunto (Lucca, 1864) ; Sulla ori-
ginalita della musica italiana ; Memoria
sul migliore indirizzo degli studj musicali
(Florence, 1863) ; Progetto per giovani
compositori (1863) ; Lettera ai Municipj
italiani per una scuola musicale (1863) ;
Discorso in morte di Michele Pulcini
(1865) ; Vita di Giudo d' Arezzo ; Dis-
corso ai collegi sul concors oall' ufficio
di Direttore uel Conservatorio di Paler-
mo (Pescia, 1862) ; Discorso nel primo
pubblico esperimento degli alunni dell'
PACIUS
Istituto musicale in Lucca (Lecca, 1865) ;
Ragionameuto sull' opera del Tiron : stud-
ies in Greek music ; Diseorso nel secundo
pubblico esperimento degli alunni dell'
Istituto musicale in Lucca (Pescia, 1867).
— Le mie memorie artisticbe, autobiog-
raphy (Florence, 1865, revised and com-
pleted by Filippo Ciccouetti, Rome, 1872) ;
Futis ; Clc'ment, Mus. culebres, 434
PACIUS, FRIEDRICH, born in Ham-
burg, Marcb 19, 1809, died at Helsingfors,
Finland, March 19, 1889. Virtuoso on the
violin, pupil of Spohr ; from 1834 music
director at the University of Helsingfors.
He was author of the Finnish national air,
" Our Country," and other songs popular in
Finland and Sweden. Works : Kouig
Karl's Jagd, opera ; Loreley, Finnish ojiera,
Helsingfors, April, 1887 ; Songs.
PADLOCK QUINTET. See Zauberflote.
PAER, FERDINANDO, born in Parma,
Itah', June 1, 1771,
died in Paris, May
3, 1839. Dramatic
composer ; studied
composition in his na-
tive town under an
organist and the vio-
linist Ghh-etti. He
pursued his studies
with great facility,
and at the age of sixteen stopped his lessons
altogether, and began composing operas.
His first, an opera bufta. La locanda do'
vagabondi (Parma, 1789), showed decided
comic talent ; the second, I pretendenti
bui-lati, although wTitten before he was
seventeen, contains some of the best music
he ever wrote. It was intended for, and
given at, an amateur theatre, but its success
was soon noised abroad. During the next
ten years Paor wrote twenty operas, given,
with almost invariable success, at Venice,
Rome, Naples, Florence, Milan, Bologna,
and Padua. In 1791 he became maestro di
cajjpella at Venice, where he composed with
the greatest industry, leading the while a
dissolute life and ending by marrying the
--^
noted singer, Francesca Riccardi, from
whom he afterwards separated. During
this period he founded his style on Cima-
I'osa, Paisiello, and Guglielmi. In 1797 he
was called to Vienna, where Mozart's music
made a strong impression upon him, and a
consequent modification in his own style
soon became apparent. His harmony grew
more vigorous, his instrumentation richer,
and his modulation more varied. I fuoru-
sciti di Firenze (Vienna, 1800) marked the
beginning of his second manner. In 1801
the Elector of Saxony invited him to Dres-
den to replace Naumann, deceased, as Ka-
liellmeister. Here Paer composed several
operas with un\vonted care, and his finest
works belong to this period of his life. In
180G he followed Napoleon to Warsaw and
Posen, and in 1807 was appointed his mai-
tre de chapelle, and settled permanently
in Paris. In 1812 he succeeded Spontiui
at the Thi'iUre Italien, where he remained
until 1827, Rossini being his associate from
1824 to 1826. In these years he wrote eight
operas, none of which made any decided
success. In 1831 he was admitted to the
Academic, and in 1832 was made director
of the King's chamber music. As a man,
PaOr was of the loosest morals, and he had
an immeasurable love for intrigue. As a com-
poser, he is one of the most important rep-
resentatives of Italian opera at the close of
the eighteenth century. His melodic power
was great, and his mastery of the simpler
forms of comj)osition comijlete. His comic
gift was remarkable, but he was almost to-
tally lacking in pathos and earnestness.
His best work, upon the whole, is jjrobably
Camilla, ossia il sotten-aueo.
Works : I. Operas : La locanda de' vaga-
bondi, Parma, 1789 ; Iprelendenti burlati,
ib., 1790 ; Circe, Venice, 1791 ; Said, ossia
il seraglio, ib., 1792 ; L' oro fa tutto, Milan,
1793, and Dresden, 1795 ; I molinari, Ven-
ice, 1793 ; Laodicea, Padua, 1793 ; II tempo
fa giustizia a tutti, ossia 1' astuzie amorose,
Pavia, 1794 ; Idomeneo, Florence, 1794 ;
Una in bene ed una in male, Rome, 1794,
C2
PAGANINI
and Dresden (in German, as Niclit gelungen
und docb gelungen), 1802 ; H matrimonio
improvviso, Vienna, 1794 ; L' amante servi-
tore, Venice, 1795 ; La Rossana, Milan, Jan.
31, 1795 ; L' orfana riconosciuta, Florence,
1795 ; Ero e Leandro, Naples, 1795 ; Tamer-
lano, Milan, 1796 ; I due sordi, Venice, 1796 :
Sofonisba, Bologna, 1796, and Dresden,
1808 ; Griselda, ossia la virttial cimeuto, Par-
ma, 1796 ; L' iutrigo amoroso, Venice, 179G ;
La testa risealdata, ib., 1796 ; Cinna, Padua,
1797 ; II priucipe di Taranto, Parma and
Milan, 1797 ; II nuovo Figaro, Parma,1797 ;
La sonnambula, Venice, 1797 ; 11 fanatico
in berliua, Vienna, 1797; Pirro, ib., 1798;
Poco ma bene, ib., 1798 ; II morte vivo, ib.,
1799 ; Le donne cambiate, ossia il calzolajo,
ib., 1800 ; I fuorusciti di Firenze, ib., 1800 ;
Camilla, ossia il sotterraneo, ib., 1801 ; Gi-
nevra degli Almieri, ossia la peste di Fi-
renze, Dresden, 1802 ; Sargino, ossia 1' al-
lievo deir amore, ib., 1803 ; Tutto il male
vien dal buco, Venice, 1804 ; II maniscalco,
Padua, 1804 ; Leonora, ossia 1' amore conju-
gale, Dresden, 1805 ; Achille, ib., 1806 ;
Nunia Pompilio, Paris, Theatre de la Cour,
1808 ; Cleopatra, ib., ib., 1809 ; Dklone
abbandonata, ib., ib., 1810 ; I baccanti, ib.,
ib., about 1811 ; L'oriflamme (with Berton,
Kreutzer, and Mehul), ib., Academie Impe-
riale de Musique, Jan. 31, 1814 ; L'eroismo
in amore, Milan, 1816 ; La primavera felice,
Paris, July 6, 1816 ; Agnese, ib., July 24,
1819 ; La gazza ladra (not performed, writ-
ten about 1820) ; Le maitre de cbapelle,
Paris, Theatre Feydeau, March 29, 1821 ;
Blanche de Provence (with Berton, Cheru-
bini, and Kreutzer) ; Olindo e Sofronia (un-
finished, written about 1824) ; La marquise
de Brinvilliers (with Auber, Batton, Berton,
Blangini, Boieldieu, Carafa, Cherubini, and
Herold), Paris, Ojjcra Comique, Oct. 31,
1831; Un caprice de femme, Paris, 1834.
U. Oratorios : II San Se^jolcro, Vienna,
1803 ; Utrioufo dellaChiesa, Parma, 1804 ;
La Passione de Giesti-Cristo, 1810. m.
Cantatas : II Prometeo, with orchestra ;
Bacco ed Ai-iana, do. ; La conversazione ar-
monica, do. ; Europa in Creta, voice and or-
chestra ; Eloisa ed Abelardo, two voices
with pianoforte ; Diana ed Endimione, do. ;
L' amor timido, voice with pianoforte ;
L' addio di Ettore, two voices with piano-
forte ; Ulisse e Penelope, two voices and
orchestra (in score, Launer, Paris) ; Saffo,
voice with orchestra (ib.) ; 2 serenades for
three and four voices with accompaniment
of harp or pianoforte, horn, violoncello, and
contrabass ; 6 duets for voices (Artaria, Vi-
enna) ; 6 little Italian duets for voices, in
two suites (Paris) ; 42 Italian ariettas for
one voice with pianoforte ; 6 cavatinas of
Metastasio for do. (Mollo, Vienna) ; 12
French romances with pianoforte ; 2 collec-
tions of exercises for soprano and tenor
(Paris, 1821, 1825) ; 4 motets (O salutaris
Hostia), three voices and orchestra (Petit,
Paris) ; Oflertory for chorus (Janet, Paris) ;
Ave Regina coeli, two voices and organ
(Porro, Paris). TV. Instrumental music :
Symphonie bacchante for grand orchestra
(Nadermann, Paris) ; Vive Henri IV., varia-
tions for gi-and orchestra (ib.) ; Grandes
marches mihtaires, Nos. I., IL, DI., IV. (Janet,
Paris) ; 6 waltzes for sis- and ten-part wind
band (ib.) ; La douce victoire, fantaisio for
pianoforte, two flutes, two horns, and bas-
soon (Schoenenberger, Paris) ; ^,^
3 gi'and sonatas for the piano- Y J '*
forte, violin obligato, and (XJT' ,,
violoncello ad libitum (Janet, Paris) ; and
many themes with variations for pianoforte.
— Thomas Masse and Antony Deschamps,
Paer et Rossini (Pari.?, 1820) ; Fetis ; Cle-
ment, Mus. celebres, 289 ; Carafa de Colo-
brano, Funerailles de M. Paer : Discours
(Paris, 1839).
PAESIELLO. See Paisiello.
PAGANINI, ERCOLE, born at Ferrara
about 1770, died (?). Dramatic conqjoser,
settled in Milan during the first years of
the 19th century. Works — Operas : La
conquista del Messico, Milan, 1808 ; Le ri-
vali generose, ib., 1809 ; I filosofi al cimento,
ib., 1810; Cesare in Egitto ; Demetrio a
Rodi. — Futis.
68
PAGANINI
PAGANINI, NICC0L6, born in Genoa,
Oct. 27, 1782, died at Nice, May 27, 1840.
The father of
this most famous
of all violin vir-
tuosi was a smaU
tradesman, with
no musical cult-
ure, but a decid-
ed love for the
art ; as soon as he
perceived his
son's marked
musical gift, he
gave him regular instruction on the mando-
lin, which instrument he played himself.
But he soon turned him over to abler
teachers, fii'st to G. Sei-vetto, and then to
G. Costa, the Genoese maestro di cappella,
with both of whom the young Niccol5
studied the violin. At the age of eight
the boy's proficiency was ab-eady remark-
able, and he had composed a sonata for his
instrument. His first public appearance
was in 1793 in Genoa, he playing variations
on La carmagnole with gi'eat success. Ev-
ery Sunday, too, he would play a violin con-
certo in church. About 1795 he was taken
to Parma to study under Alessandro Eolla,
who gave him some lessons ; he studied
also for some time under Ghiretti, who had
been Paer's teacher. In after-life Pagauiui
always denied having taken lessons from
Eolla, but it is almost certain that he really
did. But, whoever his teachers were, he
began so soon to explore new paths in vio-
lin plaj-ing that he must be considered as to
a great extent self-taught. On his return
to Genoa he composed his first studies,
which contained then unheard-of difiiculties,
and gave himself iip to the most arduous
practising. His father's strict control was
exceedingly ii'ksome to him, and when he
was allowed to go to Lucca to play at a
musical festival in November, 1798 (his
first journey alone), he did not return to
his family, but made an independent tour
through Pisa and some other towns. He
was addicted to all sorts of dissipation,
although only sixteen ; fits of illness,
brought on by his habits, would interrupt
his practice and his appearances in public,
and his youthful excesses undoubtedly laid
the foundation of his general ill-health in
later life. In Leghorn he had gambled
away everything, even to his violin ; and, to
enable him to ]Aa.y at a concert, one M.
Levron lent him a fine Joseph Guarnerius,
which he afterwards presented to him, iu
delight at his performance. This Guarne-
rius remained his favourite violin through
life, and he bequeathed it to the town of
Genoa, where it is still kejjt under glass in
the Municipal Palace. The painter Pisani
also gave him an admirable Stradivarius.
In 1801 Pag.anini withdrew to the chateau
of a lad}' of rank, where he lived in retu-e-
ment four years, practising the guitar, and
writing two sets of sonatas (op. 2 and 3) for
guitar and violin. In 1804 he returned to
Genoa, and once more took up violin prac-
tice, studying Locatelli's "Arte di uuova
modulazione," and other of his studies, and
doing his best to outdo their difficulties.
In 1805 he set out on fresh travels, creat-
ing immense enthusiasm wherever he ap-
peared. At Lucca, where he lived until
1808, as court violinist, he began hia fa-
mous performances on the G-string alone.
After 1808 he never accejjted another regu-
lar position, but led a roving life, full of
adventures, and not always devoid of danger
from outraged husbands and fathers, and
audiences with whom he allowed himself to
take undue Hberties. But liis artistic suc-
cess was constant ; in Jlilan he gave in 1813
thirty-seven concerts. He came out victor
in two violin contests — with Lafont in Mil-
an in 1816, and with Lipinski at Piacenza
in 1817. Pope Leo XH. conferred on him,
in 1827, the order of the Golden Spur.
His first trip outside of Italy was in 1828,
when (March 9) he gave his first concei-t in
Vienna ; his reception was unexampled, the
city giving him the gi'and gold medal of
St. Salvator, and the Emperor making him
M
PAGANINI
court virtuoso. From Vienna he continued
his tour through several cities, playing in
March, 1829, for the first time in Berlin.
On March 9, 1831, he ajipeared in Paris
and on June 3 in London. His concerts
in Great Britain and Ireland during this
visit, and two more he made in the follow-
ing year, wei-e so successful, financially, that
in 1832 he returned to the Continent with
a large fortune, mainly invested in landed
estates. He spent the winter of 1833 in
Paris, and in January, 1831, asked Berlioz
Paganini in 1831.
to write a viola concerto for him, which re-
quest resulted in the composition of Harold
en Italic. He passed most of the next two
years at the Villa Gaiona, near Parma. But
his bent for making money would not let
him rest long in retirement. In 1836 he was
induced to embark in a dubious speculation
in Paris, the Casino Paganini, a fashionable
club-house, ostensibly for concerts, but
really chiefly for gambling. But the gam-
bling license was refused, and the concerts
alone could not float the undertaking.
Paganini went to Paris to do his best to
save the enterprise by appearing at the con-
certs, but he was too ill to play. The com-
pany went into bankruptcy, and his person-
al loss was 50,000 francs. He staid in Paris
during the winter of 1838, and it was in
this year that he gave Berlioz the so much
talked of present of 20,000 francs as a
mark of admiration for his Symphonic fan-
tastique. But this apparent piece of munifi-
cence was in reality by no means what the
world took it to be for many years. Fer-
dinand Hiller relates, on the authority of
Franz Liszt, who was in Paris at the time,
and was intimate with all the parties to the
transaction, that the splendid gift was a
mere advertising dodge, suggested by Jules
Janin to Paganini, whose well-known miser-
liness had made him unpopular with the
Parisian public, and that the 20,000 francs
did not even come out of Paganini's purse.
But Berlioz never knew the truth about the
matter, and always supposed the gift to be
from Paganini himself. Paganini was, and
always had been, miserly and grasping in
money matters, and it was this insatiable
thirst for money which probably lay at the
bottom of his ruinous passion for gambling.
His chagrin at the failure of the Casino ag-
gravated the laryngeal phthisis from which
he had been suffering for some time ; ho
stayed a few months at the house of a
friend in Marseilles, but, getting no relief,
went to Nice for the winter of 1839, and
died there in the following May. Paganini's
genius was ejsoch-making in the history of
violin-playing. Both his technique and his
whole style of performance were original.
But marvellous and novel as were his feats
of virtuosity, his immense hold upon his
audiences was chiefly due to his impressive
individuality and the passionate warmth of
his playing. He was a romantic virtuoso
rather than a classical player, and he never
attained to that highest distinction of the
violinist, of being a fine, or even a good,
quartet-player. As a composer, his reputa-
tion was purely ephemeral, and his once
famous violin caprices now live only through
Schumann's and Liszt's pianoforte tran-
65
PAGEN
scriptions, works into which the transcrib-
ers i)ut far more of their own individuality
than they left of Paganini's. Works :
Ventiquattro capricei per vioHno solo, op.
1 ; Sei sonate per vioUno e chitarra, op. 2 ;
do., op. 3 ; Tre gran quartetti a violin o,
viola, chitarra e violoncello, op. 4 and 5 ;
Concerto in E-flat (solo-part in D, for violin
tuned a semitone higher than usual), op. G ;
do. in B minor (rondo a la clochette), op. 7 ;
Le streghe, variations on a theme by Simon
Mayr, op. 8; Variations on "God save
the King," op. 9 ; II camevale di Venezia,
bm-lesque variations on a popular air, oj).
10 ; Perpetuum mobile, op. 11 ; Variations
on "Non piii mesta," op. 12; do. on "Di
tanti palpiti," op. 13 ; CO do., in all keys,
on the air " Barucaba." Only the first five
K
opus numbers were pubhshed during his
life-time ; other compositions ascribed to
him ai-e spurious. — M. Schottky, Paganini's
Leben und Treiben als Kunstler und als
Mensch (Prague, 1830 ; translation by Lu-
dolf Vinata, Hamburg) ; George Harris,
Pagiinini in seinem Reisewagen und Zim-
mer, etc. (Vierweg, Brunswick, 1830) ; II-
menau, Leben, Charakter, und Kunst dcs
Eitter N. P. (1830) ; M. J. Imbert de la
Phalcque, Notice sur . . . N. P. (Paris) ;
Gvihr, Ubcr Paganini's Kunst die Violine zu
spielen (1829, English translation by Sibilla
Novello, London, 1831) ; G. E. Anders, Pa-
ganini, sa vie, sa personne et quelques mots
sur son secret (Delaun.ay, Paris, 1831) ; Fr.
FayoUe, Paganini et de Bcriot (Paiis, 1831) ;
Bennati, Notice physiologique sur . . .
Paganini (read before the Acadumie Royale
des Sciences, Paris, 1831 ;Kevuemusicale, xi.
113-llG) ; Giancarlo Conestabile, Vita di N.
P. da Genova (Pei-ugia, 1851) ; F. J. Futis,
Notice biographique sur N. P. (Paris, 1851 ;
EngUsh translation by Wellington Guern-
sey, Loudon, 1852) ; Niccolo Paganini, etc..
raconto storico di Oreste Bruni (Florence,
1873) ; Elise Polko, N. P. und die Geigen-
bauer (Leipsic, 1875).
PAGEN UND DEE KONIGSTOCHTEE,
VOM, four ballads for soli, chorus, and
orchestra, by E. Geibel, music by Schu-
mann, op. 110, first performed at Diissel-
dorf, Dec. 2, 1852. Characters repre-
sented : Prinzess, KOnigin, and Nixe (S.) ;
Alto solo ; Page (T.) ; KOnig, Meermann,
and Sj)ielmann (B.). This work was given
in Leipsic, Nov. 19, 18G1. Published by
Eieter-Biedermanu (Leij^sic and Wiuter-
thur, 1858). Posthumous works. No. 5.
By Breitkopf & Hiirtel, Schumann Werke,
Serie ix.. No. 13.— Neue Zeitschr., liii. 27.
PAGLIAEDI, GIOVANNI IIAEIA, Flor-
entine dramatic composer, maestro di caii-
pella to the Grand Duke of Tuscany dur-
ing the second half of the 17th century.
Works — Operas : Caligula delirante, Venice,
1C72 ; Lisimacco, ib., 1G73 ; Numa Pompi-
lio, ib., 1G74.
PAINE, JOHN KNOWLES, born in
Portland, Maine,
Jan. 9, 1839, still
living, 1890. His
first musical in-
stniction was in
his native town
from H. Kotzsch-
mar. In 1858 he
went to Berlin,
where ho studied
the organ and
counterjjoint under Haupt, singing under
Fischer, and instrumentation under Wic-
precht until 18G1, when he retui-ned to the
United States. After giving organ concerts
in several cities he settled in Boston, where
he held the position of organist at the West
Church, Cambridge Street, for about a year.
In 18G2 he was engaged as music teacher
at Harvard University, and organist at Ap-
pleton Chapel in Cambridge, where he has
lived ever since. In 187G he was invested
with a fuU professorship of music at Har-
vard, the first chair of the soii created at
66
PAINE
an American university. Paine's reputation
as an organist was exceedingly brilliant
during the first six or eight years after bis
return from Germany, his taste and style
of 2)laying placing him almost alone in this
country as a follower of the extreme classic
school ; but of late years be has jDlayed
but little in public, or even in church, and
is known to-day principally, if not solely,
as a composer and teacher of composition.
As a composer he baa admittedly belt! the
first rank in America for some years. His
musical education was very thorough, and
entirely classic in its tendency ; indeed, be
may be said to have been brought up on
Bach. His earlier works, too, are wholly
of the classic type, and show a rare mas-
tery over musical form. But after his Mass,
op. 10, he began to strike out more and
more plainly in the modern romantic direc-
tion, and is now to be classed with the ro-
manticists. Works : I. For voices with
orchestra : Domine salvum fac, for male
chorus and orchestra, op. 8, given at the
inauguration of President Hill, of Harvard
University, Cambridge, March 4, 1SG3, and
at that of President Eliot, ib., Oct. 19,
18G9 (MS.) ; Mass in D, for soli, chorus, and
orch., op. 10, given under the composer's
direction, Berlin, Singakademie, February,
1SG7 (pianoforte score, New York, Schir-
mer) ; Saint Peter, oratorio, op. 20, Port-
land, Me., May, 1873 (pianoforte score,
Boston, Ditson, 1872) ; Centennial Hymn,
in D, for chorus and orch., op. 27, given in
Philadelphia, at the opening of the Centen-
nial Exposition, May 10, 1876 (Boston, Dit-
son) ; Music to the (Edipus Tyrannus of
Sophocles, for male voices and orch., op.
35, Cambridge, Sanders Theatre, May 17,
1881 (Boston, Schmidt); The Bealm of
Fancy, cantata for soprano solo, chorus, and
orch., op. 3G, Boston, Music Hall, 1882
(Boston, Schmidt) ; Phcehus, arise, for tenor
solo, male chorus, and orch., op. 37, ib.,
1882 (Boston, Schmidt) ; The Nativity, can-
tata for soli, chorus, and orch., op. 38, Bos-
ton, Music Hall, 1883 (Boston, Schmidt) ;
Song of Promise, do. for soprano, chorus,
and orch., op. 43, Cincinnati May Festival,
1888 (Cincinnati, John Chiu'ch & Co.) ;
Harvard Commencement Hymn ; Mirabel,
romantic opera in 4 acta (MS., not yet fin-
ished). H. For orchestra : Symphony No.
1, in C minor, op. 23, Boston, Music Hall,
Thomas orchestra, Jan. 2G, 187G (MS.) ;
Overture to Shakespeare's " As You Like It,"
in F, Cambridge, Sanders Theatre, Thomas
orchestra, Nov. 21, 1878 (MS.) ; Symphonic
poem on Shakespeare's Tempest, in D minor,
op. 31, New York, October, 1877 (MS.) ;
Duo concertante for violin and violoncello,
with orch., in A, op. 33, Cambridge, San-
ders Theatre, Thomas orchestra, April, 1878
(MS.) ; Sp)ring symphony. No. 2, in A, op.
34, Cambridge, Sanders Theatre, March,
1880 (Hamburg, Schmidt & Cranz) ; An
Island Fantasy, symphonic poem in G-sharp
minor and A-flat major, op. 44, Boston,
Symphony Orchestra, April, 1888 (MS.) ;
HI. Songs and part-songs : Part-songs and
motets, op. 14, IG, 18 (MS.) ; 4 songs, with
pianoforte, op. 29 (Boston, Ditson) ; 3
songs, with do., op. 40 (ib., Schmidt). FV.
Chamber music : String quartet in D, op. 5
(MS.) ; Trio for pianoforte, violin, and vio-
loncello, in D minor, op. 22 (MS.) ; Larghetto
and scherzo for do., in B-flat, op. 32 (MS.) ;
Sonata for pianoforte and violin, in B mi-
nor, oj). 24 (MS.) ; Eomanza and scherzo
for pianoforte and violoncello, op. 30 (MS.).
V. For pianoforte : Sonata No. 1, in A mi-
nor, op. 1 (MS.) ; do. No. 2, in F-sharp
minor, op. 4 (MS.) ; Christmas gift, in D,
op. 7 (Boston, Ditson) ; Funeral March for
Abraham Lincoln, in B-flat minor, op. 9
(New York, Schirmer) ; 4 Charakterstiicke,
op. 11 (Leipsic, Forberg) ; Komance in C
minor, op. 12 (Boston, Schmidt) ; 4 charac-
ter pieces, op. 25 (ib., Ditson) ; In the coun-
try, 12 pieces, op. 2G (ib., ib.) ; Komauco
in D-flat, op. 39 (ib., ib.) ; 3 pieces, op. 41
(ib., Schmidt) ; Nocturne in B-flat, op. 45
(MS.). VI. For organ : Concert variations
on the Austrian Hymn, in F, and on The
Star-spangled Banner, in C, op. 3 (Boston,
67
PAISIELLO
Ditson) ; Fantasia in F, and double fugue
on God Save the Queen, op. 6 (MS.) ; Fan-
tasia and fugue in E juinor, and Fantasia
oil Ein' feste Burg, op. 13 (MS.) ; Miscel-
laneous pieces, op. 17, 19 (MS.).
PAISIELLO (Paesiello), GIOVANNI,
bom at Taranto,
Italy, May 9, 1741,
died in Naples,
June 5, 1815.
Dramatic com-
poser, son of a vet-
erinary surgeon,
who sent him,
when five years
old, to the Jesuit
school at Taranto.
The beauty of his voice attracted the no-
tice of the cavaliere Guarducci, maestro di
ca23pella at the Capuchiu church, who ad-
vised his parents to send him to Najsles to
be educated as a musician. After he had
been taught the elements of music by one
Carlo Kesta, a priest, his father took him,
in Maj', 1754, to Naples, where he studied
at the Conservatorio di S. Onofrio, under
Durante, Cotumacci, and Abos. During
his live years there he devoted himself
to church music, and continued writing
masses, motets, and oratorios for four years
more. But in 17G3 he wrote a dramatic
intermezzo which showed so much dra-
matic talent that he was invited to Bologna
to write a comic opera, La pupUla, ossia
il mondo al rovescio (17G4). The next
twelve years were an almost unbroken
series of successes at Modena, Parma, Ven-
ice, Kome (where he wrote his once so fa-
mous H marchese di Tuhpano), and Naples,
where he sustained successfully a brisk
rivalry with Piccinni and, afterwards, with
Cimarosa. In this Paisiello did not depend
upon his genius alone, as he might have
done, for the success of his L' idolo ciuese
(17C9) was fully equal to that of any work
of his rivals at that time ; he did not dis-
dain to have recourse often to very shabby
intrigues, jealousy and unscrupulouaness
being marked traits in his character. In
1776 he went to St. Petersburg, on invita-
tion of the Empress Catherine. He stayed
eight yeai-s in Russia, being paid a royal
salary, and writing some ten ojjeras, of
which the most noteworthy is II barbiere
di Siviglia. In 1784 he returned to Italy,
stopjjing a while on his way at Vienna,
where he wrote II ri; Teodoro and twelve
symphonies for Joseph 11. Appointed
court maestro di cajjpella by Ferdinand IV.
of Naples, the absence of Cimarosa and
Guglielmi left him there without a rival,
and during the thirteen years he remained
at his post (refusing advantageous offers
from Berlin in 1788, and Russia and Lon-
don in 1790) he wrote some of his best and
most successful scores, such as I zingari in
fiera, Nina, o la pazza per amore, and La
molinara. In 1797, on invitation of Napo-
leon, he competed successfullj- with Cheru-
bini for the composition of a funeral march
for General Hoche. Bonaparte's decision
on this occasion spoke more for his well-
known love for Paisiello's music than for
his ai-tistic discrimination. During the rev-
olution of 1799 Paisiello adopted republi-
can principles, which ho was quick enough
to repudiate at the subsequent restoration of
Ferdinand IV., although it took him a good
two years of scheming to regain the king's
favour, and his former position. In 1802
he went to Paris to organize and direct
the chapel of the First Consul. He was so
munificently treated as to excite the jeal-
ousy of French musicians, notably Mehul
and Cherubini, whom he furthermore en-
raged by sjjitefuUy using all his patronage
to favour their rivals. While in Paris he
wi-ote chiefly church music ; in 1803, how-
ever, he produced an oj)era, Pomone, but
with such ill-success that he asked leave to
return to Naples on the plea of his wife's
want of health. This permission was
granted him next year, and he accordingly
returned to his old post, endowed with a
handsome pension, after appointing Losu-
eur (to general sui-prise) as his successor
G3
PAISIELLO
at Paris. In Naples he enjoj'ed the favour
of Joseph Bonaparte and Murat, but on
the return of the Bourbons lost his pen-
sions, retaining only his salary at the Royal
Chapel. The anxiety at this sudden down-
fall of his fortune undermined his health,
which received a fiu-ther shock at the death
of his wife in 181.5. He survived her only
a few months. PaisieUo was one of the
most prolific of composers ; besides 91 ojie-
ras, he wrote 103 masses and other church
compositions, and more than 50 instrumen-
tal pieces. Gifted neither with the highest
tragic nor comic power, he was yet a master
of beautiful, simple, and expressive melody.
The musical means he employed were of
the simplest, but he knew how to obtain
singularly fine effects by them. He ab-
horred showy vocalization, and was incapa-
ble of producing elaborate work of any
sort ; but few writers have been so well
able as he to keep up the interest in a mel-
ody in spite of frequent repetitions of the
same phrase, without change or ornament.
His operas are now wholly out of date, yet
the student can probably find in them more
food for thoughtful study than in those of
any other Italian dramatic composer of his
day. Works :
I. Operas : La pupilla, ossia il mondo al
rovescio, Bologna, 17G1 ; La madama hu-
morista, Modena, 17G5 ; Demetrio, ib.,
1765 ; Artaserse, ib., 1765 ; I virtuosi ridi-
coli, Parma, 1765 ; H negligente, ib., 1765 ;
I bagni di Albauo, ib., 1765 ; Le pescatrici,
Venice, 1765 ; H ciarloue, ib., 1766 ; II
marchese di Tulipano, Rome, 1766 ; La ve-
dova di bel genio, Naples, 1766 ; L' amore
in ballo, Venice, 1766; L' imbroglio delle
ragazze, Naples, 1766 ; L' idolo cinese, ib.,
1767, and Paris, Academic Royale de Mu-
sique, June 10, 1779 ; Lucio Papirio ditta-
tore, Naples, 1767 ; II furbo mal accorto,
ib., 1767 ; L' OUmpiade, ib., 1768 ; La ser-
va padrona, ib., 1769 ; Andromeda, Milan,
about 1770; Le nozze disturbate, Naples,
1771 ; La somiglianza dei nomi, ib., 1771 ;
Gli scherzi d' amore e di fortuna, ib., 1771 ;
L' innocente fortunata (La semplice fortuna-
ta), Venice, 1772 ; Le frame per amore, Na-
ples, 1772 ; Le Dardaue, ib., 1772 ; L' Arabo
cortese, ib., about 1773 : La contesa de'
numi, ib., 1773 ; Semiramide, Rome, 1773 ;
Montesuma, ib., 1773 ; II tamburro nottur-
no, Naples, 1773 (?), and Vienna, May 17,
177-4 ; Annibale in Italia, Turin, 1773 ; I
filosofi (perhaps identical with I Socrati im-
maginarj, q. v.), ib., 1773 ; II giocatore, ib.,
1773 ; Le astuzie amorose, Naples, about
1773 ; La discordia fortunata, Venice, 1773 ;
Demnfoonle, ib., 1773 ; II credulo deluso,
Naples, 1774 ; L' osteria di Marechiaro, ib.,
1774 ; La Frascatana, Venice, 1774 ; La
luna abitata, Naples, about 1775, and, as II
mondo della luua, Moscow, 1778 ; Alesmn-
dro neir Indie, Modena, about 1775 ; Don
Anchise Campauone, ossia gli amauti co-
mici, Naples, 1775 ; Don Chisciotto della
Mancia, ib., about, 1775 ; H duello comico,
ib., 1775, and in French, as Le duel co-
mique, with some numbers by Mereaux,
Paris, Opera Comique, Se2)t. 16, 1776 ; II
finto jjrincipe, Florence, 1775 ; La disfatta
di Dario, Rome, about 1775 ; Dal finto in
vero, Naples, about 1775 ; I Socrati immagi-
narj, ib., 1775, Milan, 1783, and, as I filosofi
immagiuarj, St. Petersburg, 1779 ; La tinta
maga per vendetta, Najiles, 1776 ; II gran
Cid, Florence, about 1776 ; Le due con-
tesse, Vienna, Nov. 17, 1776 ; II harhiere di
Siviglia, St. Petersburg, 1776, and Paris,
Tuileries, July 12, Theatre Feydeau, July
22, 1789 ; II matrimonio inaspettato, St.
Petersburg, 1777 ; La finta amante, Mohi-
slaw, Poland, 1780 ; L' amor contrastato, St.
Petersburg, 1780 ; Achille in Sciro, ib.,
about 1780 ; Nitleli, ib., 1781 ; Lucinda ed
Artemidoro, ib., 1782 ; Alcide al bivio, ib.,
1783 ; n r!i Teodoro iu Venezia, Vienna,
Aug. 23, 1784 ; Anligono, Naples, 1784 ;
L' amor ingegnoso, Rome, 1785 ; Ruggiero e
Bradamante, Naples, 1785 ; La grotta di
Trofonio, ib., 1786 ; Le gare generose, ib.,
1786 ; Pirro, ib., about 1786 ; La lavandaja
astuta, Pisa, 1786 ; Fedra, Naples, 1788 ;
L' impresario in angustie, Florence, 1788 ;
PAIX
Catone in Utica, Naples, 1788 ; La molinara,
ib., 1788, and Pai-is, Sept. 2, 1801 ; I zin-
gari in fiera, Naples, 1789, and Paris, May
3, 1802 : II matrimonio per fanatismo, Na-
ples, 1789 ; Nina, o la pazza per amore, Bel-
videre, near Naples, 1789 ; II fanatico in
berlina (La locandiera), London, 1789, and
Najjlcs, 1792 ; Giimone Lucinda, dramatic
cantata, Naples, 1789 ; Zenobia in Palmira,
ib., 1790 ; La modista raggiratrice, Milan,
June 7, 1790, and, as La scuffiara, Najiles,
1792 ; II conte di Bell' umoi-e, Verona, 1791 ;
n genio poetico appagato, Naples, 1791 ; I
pretendenti delusi, Brunswick, 1791 ; I
giuochi d' Agrigento, Venice, 1792 ; II ri-
torno di Perseo, Naples, 1792 ; I visionari,
ib., 1792, and in German, as Die Pbantas-
ten, Dresden, 1793 ; Elfrida, Naples, about
1793 ; L' inganuo felice, ib., 1793 ; I scbiavi
per amore, ossia U jtadrone generoso se buon
padrone, Pai-is, 1793 ; L' antiquario bui-lato,
Bergamo, 1793 ; H calzolajo, Berlin, 1793 ;
Elvira, Nai)les, about 1703 ; Didone abban-
donata, ib., 1795 ; La Daunia felico, Fog-
gia, 1797 ; Andromacca, Naples, about 1798;
La contadina di spirito, ib., about 1800 ;
Zelmira (not performed, written about
1800) ; I^oserjnnc, Paris, Opc'ra, March 30,
1803; I Pittagorici, Naples, 1807. The fol-
lowing are doubtful : Solimanno ; La finta
giardinicra ; Zamora ; L' avaro punito.
n. Chui'ch music : La Passione di Gesii
Cristo, oratorio, Warsaw, 1781 ; Pastorali
per il S. Natale, a canto e coro ; 3 solemn
masses for 2 choirs and 2 orchestras ;
Itequiem for do. ; Te Deum for do. (for
the coronation of Napoleon) ; Eequiem for
4 voices and orchestra ; about 30 masses for
do. ; Te Deum for do. ; 4 Dixit, 3 Magnifi-
cat, Kji-ie, and Gloria, for do. ; 2 masses for
5 voices ; 2 Dixit for do., alia Palestrina ;
Miserere for do., with violoncello and viola ;
about 40 motets with orchestra, etc.
in. Instrumental : 12 symphonies for
orchestra (dedicated to
*, Jose^jh n.); Marche
funubre in memory of General Hoche, for
do. ; G concertos for pianoforte ; 12 quar-
tets for do. and strings ; 6 do. for strings ;
Sonata and concerto for the harp ; 2 volumes
of sonatas, caprices, etc., for pianoforte.
— Arnold, Giov. PaisieUo, seine kurze Biog.,
etc. (Ei-fui-t, 1810) ; Biog. del regno di Na-
poli, iii. ; Fotis ; Gagliardo, Onori funebri,
etc. (Naj)les, 18 IG) ; Le Sueur, Notice sur,
etc. (Paris, 181G) ; Quatremcre de Quincy,
Notice historique (ib., 1817) ; Schizzi, Delia
vita e degli studi di G. P. (Milan, 1833) ;
Villarosa, Slemorie dei comijositori, etc.
(Naples, 1840).
PAIS, JAKOB, born at Augsburg in
1550, died at Lau-
ingen, p robabl y
soon after 15 9 0.
Organist at Lauin-
gen, where he pub-
lished the foUowiug
collections : E i n
schon niitz mid
gebrouchlich Orgel-
Tabulaturbucb, etc., containing motets for
4 to 12 voices by famous composers, be-
sides songs, Passamezzi, and other dances
(1583) ; Missa ad imitationem Motettio
(1584) ; Seleetfp, artificiosro et elegantes
fugte, etc. (1587, 1590) ; Missa parodia
Mutetas (1587) ; Thesaurus motettarum, 22
motets by different composers (Strasburg,
1589) ; Missa Helveta, artificiosa) et ele-
gantes fugce, etc. (1590).— Fctis ; Gerber ;
Mendel.
PALADILHE, fiinLE, born at Montpel-
lier (Hurault), June 3,
1844, still hving, 1890.
Dramatic composer ;
entered when only
nine years old the
Conservatoire, where
he was pupil of Mar-
montel on the piano-
forte, of Benoist on
the organ, and of
Halevy in counterpoint. In 1857 he won
the first piize for pianoforte, and in 18G0
the organ prize and the prix do Home, the
latter for the cantata Le czar Ivan IV,
70
PALESTRINA
given at the OpC-ra, 18G0, but never j)ub-
lisbed. During his stay in Rome he sent
to the lustitut several compositions, in-
cluding an Italian opera buffa, a mass, and
orchestral works, which showed ability.
On his return to Paris he wrote his first
opera, Le passant, on Coi^pue's text, but
the music was not regarded as a success.
His Suzanne was better received, and his
Patrie still more favourably ; but his meth-
ods are antiquated and he is wanting in in-
vention. Legion of Honour, 1881. Works
— Operas: Le passant, opcra-comique, one
act, given at the Opera Comique, Paris,
1872 ; L'amour africain, do., two acts, ib.,
1875 ; Suzanne, do., three acts, ib., 1878 ;
Diana, do., ib., 1885 ; Patrie, grand opera,
text from Sardou's drama. Opera, Dec. 20,
1886. Symphony for orchestra, 18G0 ; 6
melodies ecossaises ; 20 melodies, voice and
pianoforte ; Fragments symphoniques, 1882 ;
2 masses ; Songs, etc. — Fetis, Supplement,
ii. 29G ; Grove.
PALESTRINA, GIOVANNI PIERLUIGI
DA (Joannes Petraloysius Prteuestinus),
born at Palestrina, near Rome, probably in
1514-15, died in Rome, Feb. 2, 1594. His
family name was Sante ; in the earlier edi-
tions of his works he is called either simply
Gianetto, or Gianetto with differently si^ellcd
affixes, such as Palestrina, Pallestrina, Pales-
trino, Palestina, Pelestrino, with or without
the da ; sometimes, also, Jo. de Palestina.
He is called J. P. Aloisius by his biographer
Baini. The date of his lairth has been much
disj)uted, and was formerly set at 1524, but
the best later authorities now agree that it
must have been ten years earlier. He was
the son of Pierluigi and Maria (Gismondi)
Sante, people in a humble station. His
musical gift is said to have been first dis-
covered by tlie maestro di cappella of Sta.
Maria Maggiore, in Rome. It is almost
certain that he was sent at an early age to
Claude Goudimel's music school, where he
laid the foundations of his unsiu-passed
mastery in counterpoint. The first record
of his occupying an ofiicial position is his
succeeding Francesco Rosseli as maestro de'
putti (master of the boys) at the Cappella
Giuha, in February
or March, 1551,
the chapter of St.
Peter conferring
upon him the title
of maestro della
cappella della Ba-
silica Vaticana ; it
is estimated that
he began his pro-
fessional career as
a musician in 1544. In 1554 was published
his first book of masses, dedicated to Pope
Julius HI. On Jan. 1, 1555, he was made
maestro di cappella of the Pontifical Chap-
el, Giovanni Animuccia succeeding him at
his former post at St. Peter's. It is evident
that his exceptional genius must have been
pretty well recognized at this period, for the
jjope dispensed him from passing the strict
examination prescribed in the Motu proprio
of Aug. 5, 1553, for all applicants for admis-
sion to the Pontifical Chapel, and also over-
looked the regulation that all members of
the chapel must be priests ; for at that
time Palestrina was already married, and
had several sons. But although these in-
fractions of the rules of the chapel were
winked at also by Julius's successor, Mar-
cellus n., who had been a jmtrou of Pales-
trina's before his accession to the Papal
Chair, that stern reformer in church matters,
Paul rV., expelled him and two other mar-
ried singers from the chapel, with a very
small pension, July 30, 1555, so that he
held the position for only seven months.
It was, however, a stroke of the irony of fate,
that Palestrina should afterwards have been
a potent agent in thwarting one of Paul's most
cherished reformatory measures : the aboli-
tion of contrapuntal chui-ch music, and the
return to the plain Gregorian chant. On
Oct. 1, 1555, Palestrina was appointed maes-
tro di cappella at San Giovanni in Laterano ;
but as this post was poorly paid he ob-
tained a release from it, and in 1561 the
71
PALESTRINA
appointment to the similar position at Sta.
Mai-ia Maggiore. In 1563 came the most
famous event of
his Ufe, the writ^
ing of the Mar-
cellus Mass, and
with it the
so-
" saving
art of
This
transac-
which
called
of the
music."
whole
t i o n ,
ended in nullify-
ing, in so far as
music itself was
concerned, the radical reforms in church mu-
sic proposed bj' Paul IV., and discussed at
gi'eat length at the Council of Trent (1545-
63), has been made the theme of almost end-
less romancing. A brief account of it may
be found under the heading 3Iissa Papaj
Marcelli, and a detailed one in Ambros (iv.,
7-20). The result to Palestrina was his be-
ing made composer to the Pontifical Chapel,
an honorary position which has been held only
by him and by Felice Anerio. In 1571, on
the death of Auimuccia, he was made maes-
tro di cappella at St. Peter's, which i)Ost he
held until his death. Other suiiplementaiT
posts held by him were those of composer
to the Congregazione del Oratorio, founded
by S. Filippo Neri, of maestro concertatore
to Prince Buoucompagni in 1581, and oc-
casional teacher in G. M. Nanini's music
Bchool. Pope Gregory XUI. intrusted him
with the revision of the Roman Gradual
and Antiphoiial, an enormous task, in which
he was assisted by his pupil Giudetti, but
left unfinished at his death. In 1585 Pope
Sixtus V. tried to reinstate him in his
former position of maestro di cappella to
the Pontifical Chapel, but the jealous op-
position of the singers was too energetic to
be overcome. Palestrina stands universally
accepted as the greatest genius not only of
the " great " Roman contrapuntal school
but of the whole epoch of strict simple con-
trapuntal composition, which reached its
culmination in him. The only two men
who could in any way dispute his suprema-
cy in this style were Giovanni Gabrieli and
Orlando Lasso ; but, making all due allow-
ance for the greatness of these men, the
palm of superiority must still be awarded
to Palestrina. The romantic legends that
grew up around the nucleus of fact con-
cerning the jiart he and his Marcellus Mass
j)layed in the history of church music after
the Council of Trent for a long time misled
musical historians into looking u^jou him
as an important innovator in music. He
was dubbed not only the Prince of Music,
but the Father of Music. But Palestrina
was in no sense a musical innovator ; his
tendencies were conservative, he never de-
parted from the field of composition which
had been so well worked by his great prede-
cessors. In the Marcellus Mass itself there
was not a single element of novelty either in
style or construction. Palestrina's mission
was to complete and perfect a great musi-
cal epoch, not to pave the way for a new
one. His compositions are all in strict sim-
jjle counterpoint in the Gregorian modes, for
unaccompanied chorus ; he made frequent
use of almost every contrapuntal subtlety
known to the older Netherlandish compos-
ers, but with a completeness of technical mas-
tery and an iin failing sense for ideal beau-
ty that wholly veiled the merely scholastic
side of these devices. His long life was a
hard-working, but not particularly eventful
one ; he saw a line of fifteen popes — from
Leo X. to Clement VHI. — ascend the throne
and pass awa}', and he held some of the
most brilliant musical positions of his day ;
but the salaries were small, and there is lit-
tle doubt that he was miserably poor the
greater part of his life. The portrait on this
page is a facsimile of part of the frontis-
piece of his first book of masses, represent-
ing him presenting the book to the pope.
It is the only contemporary likeness of him.
Works : I. Masses : Joannis Petri Aloysii
Prsenestini in Basilica S. Petri de Urbe
cappellse Magistri, Missai'um, liber primus.
72
PALESTEINA
four4-part masses, and one in 5 parts (Rome,
1554 ; 2d ed., 1572 ; 3d ed., containing a 5-
part Requiem and a 6-part mass, 1591) ; Mis-
sarum, liber secundus, four 4-part and two
5-part masses, and the 6-part Missa Papse
Marcelli (Rome, 1567 ; 2d ed., Venice, 1598) ;
]\Iissarum, liber tertius, four 4-part, two 5-
part, including the Tihomme armu, and two
6-part masses (Rome, 1570) ; Missarum,
liber quartus, four 4-part and three 5-part
masses (Rome, 1582 ; 2d ed, ib, 1582 ; 3d
ed, ib., 1590) ; Missarum, liber quintus,
three 4-part, two 5-part, and two 6-part
masses (Rome, 1590 ; 2d ed., Venice, 1591) ;
Missaj, liber sestus, four 4-part masses, and
one 5-part (Rome, 1594 ; 2d ed., containing
also a 6-part Ave Maria, Venice, 1596) ;
Missse, liber Septimus, two 4-part and two
6-part masses, published after Palestrina's
death by bis son Hygin (Rome, 1594 ; 2d
ed., ib., 1595 ; 3d ed., containing also a
6-part mass, Venice, 1605) ; Missarum, liber
octavus, two 4-part, two 5-part masses, and
one 6-23art with perpetual double canon
(Rome, 1599 ; 2d ed, ib., 1609) ; Mis-
sarum, liber nonus, two 4-part, two 5-part,
and two 6-part masses (Rome, 1599 ; 2d
ed., ib., 1608) ; Missarum, liber decimus,
two 4-part, two 5-part, and two 6-part
masses (Rome, 1600) ; Missarum, liber un-
decimus, one 4-part, two 5-part, and two
6-part masses (Rome, 1600) ; Missarum,
liber duodecimus, two 4-part, two 5-part,
and two 6-part masses (Rome, 1601) ; Mis-
B8e octonis vocibus concinendse, four 8-part
masses (Venice, 1601) ; Lauda Sion, Pater
noster, and Jesu nostra redemptio, in 4-
parts ; Beatus Laurentius, Panem nostrum,
Salve Regina, and O Sacrum Convivium, for
5 parts ; Ecce ego Joannes, and Veni Creator
Spiritus, for 6 parts, and other unedited
masses preserved in the Library of the
Vatican ; also a collection in the Minerva
Library, Rome. II. Motets : Motecta fes-
torum totius anni, cum communione sanc-
torum quaternis vocibus, liber primus
(Rome, 1585 and 1590 ; Venice, 1601 ; and
Rome, 1622) ; Mottettorum quse partim
quinis, partim senis, partim septenis voci-
bus concinantur, liber primus (Rome, 1569 ;
2d ed, Venice, 1586 ; 3d ed, 1600) ; Mot-
tettorum, liber secundus, discovered by
Baini (Venice, 1572) ; Mottettorum, liber
tertius (Rome, 1575 ; Venice, 1581, 1589,
and 1594) ; Mottettorum quatuor vocibus,
partim plena voce, e jjartim partibus voci-
bus, liber secundus (Venice, 1581 ; Rome,
1590 ; Venice, 1604, 1606) ; Mottettorum
quinque vocibus, liber quartus (Rome, 1584 ;
2d ed., Venice, 1584 ; 10th ed., Rome,
1650) ; Mottettorum quinque vocibus, liber
quintus (Rome, 1584 ; Venice, 1588, 1595,
1601). Three books of motets for 4, 5, and
6 voices were collected by Baini. HL La-
mentations of Jeremiah : 23 Lamentations
in 4 parts, liber primus (Rome, 1588 ;
Venice, 1589) ; and two other works in 4,
5, and 6 parts, collected by Baini. IV.
Hymns : Hymni totius anni, secundum S.
R. E. consuetudinem quatuor vocibus con-
cinendi nee non hymni religionum (Rome
and Venice, 1589 ; Rome, 1625). V. Offer-
toria (Rome, 1593; Venice, 1594, 1596).
VI. Magnificat : Magnificat octo tonorum,
liber primus (Rome, 1591 ; 2d ed., Venice,
1591) ; also of 5-, 6-, and 8-part unedited
Magnificats, collected by Baini. VII. Lit-
anies : Litanipe Deiparfc Virginis (Rome,
1600) ; Vm. Madrigali spiritual], libro
primo (Venice, 1581) ; libro secundo (Rome,
1594). IX. Psalms : Sacra omnia, solemn.
Psalmodia Vespertina (Venice, 1596). X.
Madrigals : Libro primo a quattro voci
(Rome, 1555; Venice, 1568, 1570, 1594,
1596, 1605) ; libro primo a cinquo voci
(^^enice, 1581) ; secundo libro a quattro
voci (Venice, 1586). Many of Palestrina's
masses were edited and jjublished by Al-
fieri in his " Raccolta di Musica in cui con-
tengonsi i capolavori di celebri compositori
italiani " (Rome, 1841) ; and Alfieri also pub-
lished, " Raccolta di mottetti a quattro voci
di Giovanni Pierluigi da Palestrina, Ludo-
vico de Vittoria di Avia e di Felice Anerio "
(ib., 1841). A number of Palestrina's works
were published by Proske in his collection of
73
PALESTRINA
" Musica Divina." Tbo most of Palestrina's
MSS. are in the Library of the Vatican, and
37 motets are in the Library of the Con-
servatoire in Paris. Breitkojof & Hartel's
edition of Palestrina "Werke : L 5, 6, and
7-part Motets ; 11. 5, G, and 8-part Motets ;
IIL 5, 6, and S-jjart Motets; IV. 5-part
Motets ; V. 4-part Motets ; YL. 5, 6, and
8-part Motets; VH. 4, G, 8, and 12-pai-t
Motets ; \TII. 4-part Hymns ; IS.. 5-part
Offertories ; X. Masses, 1st Book ; XI. 2d
Book; Xn. 3d Book; XHL 4th Book;
XrV. 5th Book ; XV. Gth Book ; XVI 7th
Book ; XVn. 8th Book ; XYIJI. 9 Books
of Masses ; XIX. 10 Books of Masses ;
XXIV. 15 Books of Masses ; XX\1. Three
Books of Litanies for 4, 5, 6, and 8 voices,
and six 12-part Motets and Psahns ; XXVII.
35 Magnificats in 3 Books. XX^TH. 3, 4,
5, and 6-part Madrigals, 3 Books ; XXIX.
5-part Madrigals, 2 Books ; 15 Books of
Masses ; 3 Books of Lamentations in 4, 5,
/7_ f •> A ' /"• • and G parts ; 3 Books
j4^^H^^C^/k4/l of Litanies in 4 and
C jiarts ; 2 Books of Magnificats in 4, 5, 6,
and 8 parts ; and a Supplement of miscel-
laneous works, biographical data, and docu-
ments, etc. — Baini, Memorie storico-critiche
della vita e delle opera di G. Pierluigi da
Palestrina (2 vols., Rome, 1828 ; German
translations by Kandler and Kiesewetter,
1834) ; C. Winterfcld, Palestrina, seine
"Werke und deren Bedeutung fiir die Ge-
schichte der Tonkunst (Breslau, 1832) ;
Biiumker, Palestrina (Freiburg, 1871) ;
Fc'tis, vi. ; Ambros, iv. 1. ; Clement, Mus.
celebres, 7 ; Kiemann ; Naumann, Italien-
ische Tondichter von Palestrina bis auf die
Gegenvrart (?).
PALESTRINA, oratorio, by Cari Loewe,
written in 1841. It was performed by the
Berlin Singakademie in 1845. — Wellmer,
Loewe (Leipsic, 1887).
PALIONE, GIUSEPPE, born in Rome,
Oct. 7, 1781, died in Paris, December (?),
1819. Dramatic composer, pupil of Fonte-
maggi in Rome and of Fenaroli in Naples ;
went to Paris in 1805, and taught vocal
music. "Works — Operas : La finta amante,
Naples, about 1800 ; Le due rivali, Rome,
1802 ; La vedova astuta, ib., about 1803 ;
La villanella rapita, ib., about 1804. De-
bora, oratorio ; Ai-iane, cantata ; 2 sympho-
nies for orchestra ; 3 quintets for 2 piano-
fortes, 2 violins, and violoncello ; 9 quartets
for strings. — Fetis.
PiiLLAVICmO, BENEDETTO, born at
Cremona in the second half of the IGth cen-
tury, died (at Mantua?) after IGIG. Vocal
composer, maestro di eappella to the Duke
of Mantua. "Works : Book of madrigals, for
4 voices (Venice, 1570) ; 7 books of do., for
5 voices (ib., 1581, 1.593, 159G, 1597, 1G12,
1G13) ; Book of do., for G voices (1587) ; do.
of motets, for 8, 12, and IG voices (ib.,
1595) ; Madrigals in several collections of
the time. — Fetis ; Riemann.
PALLA"V^CINO, CARLO, born at Bres-
cia, Italy, in 1G30, died in Dresden, Jan.
27, 1G88. Dramatic composer, Vize-Kapell-
meister in Dresden, 1GG7 ; Kaiiellmeister
in 1G72 ; then lived for several years in
Italy, but from 1G85 again in Dresden
as Kapellmeister of the new Italian ojjera.
"Works : AureUano, Demetrio, Venice, IGGG ;
II tiranuo umiliato d' amore, ovvero Meraspe,
1G67 ; Diocleziano, 1674 ; Enea in Itaha,
1G75 ; Galeuo, 1G76 ; H Vespasiano, 1G78 ;
n Nerone, 1G79 ; Messalina, 1G80 ; Bassiano,
ossia il maggiore impossibile, 1G82 ; Carlo,
ro d' Italia, 1G83 ; R re infante, 1G83 ; Li-
cinio imi^eratore, 1G84 ; Recimero, vh de'
Vaudali, 1G85 ; Massimo Puppieno, 1685 ;
Penelope la casta, 1G8G ; Didone delirante,
168G ; Amor innamorato, 1687 ; L' amaz-
zone corsara, 1687 ; Elmiro, re di Corinto,
1G87 ; La Gorusalemme liberata, 1G88 ;
Antiope (finished by Strungk), Dresden,
1689.— Fetis ; Mendel.
PALilA, SILVESTRO DI, born at Ischia,
near Naples, about 1762, died at Naples,
Aug. 8, 1834. Dramatic com^joser, pupil
of Valenti and Fenai-oli at the Conserva-
torio in Loreto, and afterwards of Paisiello.
"Works : La finta matta, Naples, 1791 ; La
pietra simpatica, ib., 1792 ; GU amanti ridi-
74
PALME
coli, ik, about 1794 ; La sposa contrastata,
Turiu, about 1797 ; II iiaturalista immagiua-
rio, Florence, 180G ; Several others, given in
Naples. — Fetis.
PALME, RUDOLF, born at Barby, Prus-
sian Saxony, Oct. 23, 1834, still living, 1890.
Organist of the Church of the Holy Ghost
at Magdeburg, and royal music director ;
pupil of August Gottfried Ritter. Works :
Sonatas, jireludes, Conzert-Phantasie with
male chorus, and many other comjjositions
for the organ ; Choruses for male, and
mixed voices, sacred songs, etc. — Riemann.
PALMEN-SONNTAG MORGEN (Palm-
Sunday morning), for chorus, soli, and or-
chestra, text by Geibel, music by Ferdinand
Hiller, op. 102. Pubhshed by Rieter-Bie-
dermaun (Leijisic, 1860-67).
PALIMER, HORATIO RICHMOND,
born, of American parentage, in Sherburne,
New York, April 26, 1834, still living, 1890.
When nine years old he sang alto in a
church chou-, at seventeen was organist
and choirmaster, and at eighteen began
composing. He studied thorough-bass and
harmony under his father, but is chietly
self-taught. He became professor of mu-
sic in the Academy, Rushford, New York,
then musical editor of the " Sunday School
Teacher ;" in 1866 began editing the " Con-
cordia," a monthly journal of music in Chi-
cago, where for sis years he was chorister
in the Second Baptist Church. In 1874 he
removed to New York, where he still resides.
He has lectured in nearly every State in the
Union, and has had several thousand pupils
under his instruction. In 1879 the Uni-
versity of Chicago gave him the degree of
Doctor of Music. He has published many
collections, containing most of his own com-
positions ; among them : The Song Queen
(1867) ; Sabbath School Songs (1868) ; Nor-
mal Collection of Sacred Music (1870, 200,-
000 copies sold) ; The Song King (1871,
200,000) ; The Standard (with L. O. Emer-
son, 1872) ; Concert Choruses (1873) ; Songs
of Love for the Bible School (1874) ; The
Leader (with L. O. Emerson, 1874) ; The
Song Monarch (with L. O. Emerson, 1874) ;
The Song Herald (1876) ; Book of Anthoma
(1879) ; The Sovereign (1879) ; Rays of
Light (1882) ; Concert Gems for Choruses
(1883) ; Book of Threnodies (1883) ; The
Choral Union (1884) ; Concert Collection of
Choruses, 1886 ; Book of Literludes, 1888 ;
Anthems, glees, and jjart-songs.
PALOTTA, MATTEO, surnamcd II Pa-
normitano, born at Palermo in 1680, died
in Vienna, March 28, 1758. Church com-
poser, pupU at the Conservatorio di S. Ono-
frio, Najiles, about the same time as Pergo-
lesi. He was ordained secular jiriest on
his return to Palermo, devoted himself to
studies in part-writing and counterpoint,
and produced a valuable work entitled :
Gregorian! cantus enucleata praxis et cog-
nitio ; a treatise on Guido d' Arezzo's Sol-
misation ; and an instruction book on
church tones. In 1733 he was apjjoiuted
Hof-Kapellmeister in Vienna ; was dis-
missed in 1741, and reinstated in 1749.
Works : Masses in four and eight parts,
motets, etc., in the libraries of the court
chapel and the Gesellschaft der Musik-
freunde, Vienna. — Mendel ; do., Ergilnz.,
324 ; Riemann ; Schilling.
PALUMBO, COSTANTINO, born at
Torre Annunziata, Naples, Nov. 30, 1843,
still living, 1890. Pianist, pupil at the
Conservatorio of Lanza antl Russo, and in
comjiosition of Mercadante ; made a eon-
cert tour in 1864 through Italy, and in 1867
went to Paris, where he profited by the ad-
vice of Henri Herz and Planti"'. Having
appeared also in London as a vii'tuoso, he
returned to Naj)les, where he gave many
concerts, often performing in company with
Thalberg. In 1873 he became professor at
the Conservatorio. Works : Maria Stuarda,
opera, given at Naples, Teatro San Carlo,
1874 ; More than 70 compositions for the
pianoforte. — Fctis, Supplement, ii. 298.
PAmNGER (Pammigerus), LEON-
HARDT, born at Aschau, Upper Austria, in
1494, died at Passau, May 3, 1567. Con-
trapuntist, educated in the Monastery of
T5
PAMPANI
St. Nicholas at Passau, where he became
secretary after completing his studies in
Vienna in 1513-16.
Works : Ecclesias-
ticarum cantionum
4, 5, G et jjlurium
vocum, etc. (Nur-
e mbor g, 1573) ;
Others in several
collections of the
times. His three
sons, Balthasar,
Sophonias, and Sig-
ismund, were also composers. — Fetis ; Men-
del ; Eitner, Bibl., 771.
PAMPANI, ANTONIO GAETANO, born
in the Komagna in the beginning of the 18th
century, died in Venice, February, 17G9.
Dramatic composer, maestro di cappeUa of
the cathedral at Fermo until 1748, then di-
rector of the Venice Couservatorio. Mem-
ber of the Accademia Filarmonica, Bologna,
1746. Works— Operas : Anagilda, 1735 ;
Artaserse Lougimano, 1737 ; La caduta d'
Amulio, 174G ; La clemenza di Tito, 1748 ;
Artastrse, 1750 ; II Vinceslao, 1752 ; Astia-
nassc, 1755 ; Demofoonte, 1764 ; Demelrio,
1768. Church music— Fetis.
PiVNICO, mCHELE, born at Naples,
July IG, 1830, still living, 1890. Dramatic
and church composer, pupil of the Couser-
vatorii at Naples and Milan. Works : La
figlia di Domenico, opera, Naples, 1857 ;
Stella, do., ib., 1859 ; SI e no, ojieretta, ib.,
1875 ; Mass with full orchestra, 1855 ; Other
church music, and vocal melodies. — Fetis,
Supplement, ii. 299.
PANIZZA, GLACOMO, born at Castel-
lazzo, Italy, May 1, 1804, died there, April,
18G0. Dramatic composer, and vocal in-
structor of considerable reputation, who
formed many excellent singers. Works —
Operas : Sono eghno maritati ?, Milan,
1827 ; La coUerica, ib., 1831 ; Gianni di
Calais, Trieste, 1834 ; I ciarlatani, Milan,
1839. Ballets : La rosiera ; Merope (with
Viviani), Milan, 1832; Faust (with Costa
and Bajetti), ib., 1848 ; Palmiua (with
Santos and Pinto), ib., 1853 ; Nana Sa'ib
(with Strebiuger), Vienna, 1867. Inno a
Maria Malibran, serenade for 4 voices and
orchestra, Milan, 1834 ; Sextet for wind in-
struments ; Arias and romances. — Fotis ;
do.. Supplement, ii. 299.
PANNAIN, ANTONIO, born at Naples,
Jan. 31, 1841, still living, 1890. Instru-
mental and vocal composer, pupil of Nicola
Fornai-ini, his uncle. Works ; 4 masses, of
which 3 with orchestra ; Other church mu-
sic ; 2 overtures for orchestra ; Pianoforte
music, and songs. — Futis, Supplement, ii.
299.
PANNY, JOSEPH, born at Kohlmitz-
berg, Nether Austria, Oct. 23, 1794, died
at Mainz, Sept. 7, 1838. VioUnist, pupil of
his father, and in theory of his grandfather,
an organist ; studied afterwards in Vienna,
where Paganiui took a fancy to him (1824),
and invited him to join him on his future
concert tours. In Prague they separated
and Pauny went to Germany, gave concerts
in Munich (1828) and other cities, and set-
tled at Mainz, whence he made concert
tours to Hamburg and Berlin in 1830, to
Norway, Sweden, and England in 1831-32.
Works : 3 masses ; Requiem, for 3 voices,
2 violins, 2 horns, and organ ; Several grad-
uals ; Cantatas ; Quartets ; Sonata for clar-
inet and pianoforte ; Violin music ; Cho-
ruses for male voices, and songs. — Allgem.
wiener mus. Zeitg. (1842), 448 ; Fetis ; N.
Necrol. der D. (1839), i. 38 ; Wurzbach.
PANOFKA, HEINRICH, born in Brcs-
lau, Oct. 2, 1807, died in Florence, Italy,
Nov. 18, 1887. Violinist, and professor of
singing ; destined to the law by his father,
he took lessons on the violin from his sis-
ter, a clever violinist ; learned the princi-
ples of music from the cantor Strauch and
his successor Foerster, played at a concert
at the age of ten, when his father, recogniz-
ing his talent, sent him to study in Vienna
under Mayseder and Hoffmann, 1824-27.
He gave his first concert in 1827 ; left Vi-
enna for Munich in 1829, and thence went to
Berlin, and at last settled in Paris as violin-
70
PANSEKON
ist. He played at the Conservatoire con-
certs, studied vocal music and itfs practical
instruction under Bodogni, and with him
established in 1842 an Acadcmie de Chant,
in imitation of the one in Berlin. Their
project was not successful, as the Prince de
la Moskowa was then forming his Societu
de Concerts. In 1844 Panofka went to
London, and in 1847 was engaged by Lum-
ley as assistant at Her Majesty's Theatre at
the time of Jenny Lind's visit. The Revo-
lution of 1848 obliging him to remain in
London, he became widely known as a
teacher of singing, but returned to Paris in
1852, and settled at Florence in 1866.'
Works : L' art de chanter, op. 81 (Paris) ;
24 vocalises progressives, op. 85 ; Abecc-
daire vocal, 2d edition ; 12 vocalises d' ar-
tiste, op. 86 ; Erholung und Studium, op.
87 ; 86 nouveaux exercices, op. 88 ; 12 vo-
calises pour contralto, op. 89 ; 12 Vokalisen
fur Bass, op. 90 ; Works for violin and pi-
anoforte, and violin and orchestra, etc. — Fe-
tis ; Riemauu ; Mendel ; Schilling.
PiVNSERON, AUGUSTE MATTHIEU,
bom in Paris, April 2G, 1796, died there,
July 29, 1859. Vocal composer, professor
of singing, and writer ou music ; the son
of a professor of music who scored many of
Gretry's operas, he entered the Conserva-
toire in 1804, became pupil of Gossec in
counterpoint, of Levasseur on the violon-
cello, and of Bertini in harmony, winning
prizes in these studies. He won, also, in
1813 the grand jirix de Rome for his can-
tata Herminie. He went to Italy, took
lessons in counterpoint from Mattel in
Bologna, lived in Naples and Rome several
years, studying under the best masters,
went to Germany, and was pupil of Salieri
in Vienna, and of Winter in Munich. In
1817 he became honorary Kapellmeister to
Prince Eszterhiizy at Eisenstadt. After vis-
iting Prussia be returned iu 1818 to Paris,
where he taught singing and became ac-
companist at the Opera Comique, then in
1826 professeur de solfege and in 1826 pi'O-
fesseur de chant at the Conservatoire. His
great charm as a composer was in his ro-
mances, which acquired great popularity,
and of which he published two hundred
between 1825 and 1840. His greatest
merit lies in his didactic treatises, which
were the outcome of his experiences as jjro-
fessor at the Conservatoire. L. of Honour ;
Orders of Oaken Crown, and of the Red
Eagle. Works : La grille du pare, opera-
comique, Paris, Theatre Feydeau, 1820 ; Les
deux cousines, do., ib., 1821 ; Le mariage
difficile, ib., 1823 ; L'ccole de Rome, Oduon,
1827 ; 3 solemn masses ; 2 masses for 3 so-
prani ; Requiem ; De prof undis ; Miserere for
4 voices ; Mois de Marie, motets and hymns
for 1-3 voices ; Pie Jesu ; Many fugues ;
Fantaisies, nocturnes, and themes varies
for pianoforte and flute. ABC musical ;
Suite de I'A B C ; Solfuge a deux voix ; Sol-
fege d'artiste ; Solfege sur la clef de fa ;
Solfege d'ensemble a deux, trois et quatre
voix, 3 parts ; Solfege du pianiste ; Solfege
du violoniste ; Solfege concertant a deux,
trois et quatre voix, 3 parts ; 50 lemons de
solfege a changements de clefs ; 36 do., suite
aux 50 lemons ; Methode complete de voca-
lisation, 3 parts ; Douze etudes sj)eciales ;
Traite de I'harmonie pratique, etc. — Fetis ;
do.. Supplement, ii. 300 ; Riemann ; Schil-
ling, Supplement, 334.
PANZINI, ANGELO, born at Lodi, Nov.
22, 1820, still living, 1890. Pianist, pro-
fessor at the Conservatorio in Milan.
Works : La carita, cantata ; II brindisi,
song with chorus ; Ariettas and other vocal
music ; Grand sonata for pianoforte and
harmonium ; Various pieces for do. ; do.
for pianoforte and flute ; Grand duo for
2 flutes ; Nocturnes, caprices, melodies,
scherzi, etc. — Fetis, Sujjplement, ii. 300.
PAOLUCCI, Padre GIUSEPPE, born at
Siena in 1727, died at Assisi iu 1777. Church
composer and Franciscan monk, pujjil of
Padre Martini at Bologna, then maestro di
cappella successively in the convents of his
order at Venice, at Sinigaglia, and at Assisi.
Works : Preces pife, for 8 voices (2 choirs),
(Venice, 1767) ; Other church music iu MS.
77
PAPILLONS
He is particularly noteworthy through the
IJublication of his Arte pratica di contrap-
punto dimostrata con esempj di vari autori
(ib., 17G5-72).— Fetis.
PA-PA-PAPAGENO. See ZaubcrflOie.
PAPILLONS (Butterflies), a set of twelve
short pianoforte ijieces in dance form, by
Schumann ; op. 2. Nos. 1, 3, 4, G, and 8
were composed in 1829, the others in 1831.
They were written in Heidelberg and Leip-
sic, and are dedicated to the composer's
sisters-in-law, Therese, Rosalie, and EmiUe
Schumann. The name indicates musical
ideas and phases, exjiressed from esjseri-
ences of a thoughtful Ufe, through which
they break as the butterflj' from its chrysa-
lis. Schumann gives them a poetical mean-
ing by referring to the chapter of Jean
Paul's " Flegeljahre," describing a masked
ball, or carnival, which the PapLllous ai-e
sui^posed to depict. The last bars of the
finale ai-e inscribed with these words : "The
noise of the Carnival night dies away. The
church clock strikes sis." The PapUlons
may be regarded as a sketch for the more
elaborate Carneval, op. 9, and in this work
a passage is inserted from the Papillons,
No. 1. The finales of both works contain
the Grossvaterlanz, which is the finale of op.
2, and is treated coutrax)uutally with the
subject of Papillon No. 1. Introduzione,
Moderate, in D ; L In D ; H. Prestissimo,
in E-flat and A-flut ; IIL In F-sharp minor ;
IV. Presto, in A ; V. In B-flat ; VI. In D
minor ; Vli. Semplice, in F minor and A-flat ;
\TII. In C-sharp minor and D-flat ; IX.
Prestissimo, in B-flat minor ; X. Vivo, in C,
Piti lento in G and C ; XI. In D, Piti lento
in G, In tempo vivo in D ; XH. Finale in
D (Grossvatertanz), Piii lento. PubUshed
by Kistner (Leipsic, 1832). Breitkopf &
Hiirtel, Schumann Werke, Serie vii., No. 2.
— Wasielewsky, Schumann, 3d ed., 328 ;
Reissmann, Schumann, 41 ; Maitland, Schu-
mann, 49 ; Wiener mus. Zeitg. (1832), No.
26 ; AUgem. mus. Zeitg., xxxv. G16 ; Grove,
ii. G45 ; iii. 408.
PAPINI, GUIDO, bom at Camaggiore,
near Florence, Aug. 1, 1847, still living,
1890. Virtuoso on the violin, pupil of Gi-
orgetti. He made his debut at the age of
thii-tcen in Florence, jjlaying Spohi-'s third
concerto ; and was for several years leader
of the Societa del Quartetto in that city.
In 1874 he appeared in England at the
Musical Union, and has since played at the
old and new Philharmonics, and in 187G at
the Pasdeloup Concerts in Paris. Works :
Concerto for violin ; do. for violoncello ;
Exercices du mecanisme pom- le violou
seul ; Amour, romance-nocturne ; A mon
t'toile, romance sans pai'oles ; FeuiUes
d'album, etc. ; Arrangements and tran-
scriptions.— Fetis, Supplement, ii. 312 ;
Grove ; Mendel, Ergiiuz., 325.
PARADIES, PIETRO D03IENIC0,
bom in Naples in 1710, died in Vcuico in
1792. Harpsichord player and dramatic
comj)oser, pupil of Porpora ; he went to
London in 1747, and lived there many
years, teaching the pianoforte. Works :
His best known operas are Alessandro in
Persia, Lucca, 1738 ; II decreto del fato,
Venice, 1740 ; Phaiiton, London, 1747 ; Le
muse in gara, cantata, Venice, Conserva-
torio dc' Mcndicanti, 1740 ; 12 sonato di
gravicembalo (London ; 2d ed., Amsterdam,
1770).— Fetis ; Grove ; Mendel.
PARADIES UND DIE PERI, DAS
(Paradise and the Peri), cantata in three
parts, for soli, chorus, and orchestra, text
from Moore's " Lalla Rookh," music by
Schumann, op. 50, first performed at the
Gewandhaus, Leipsic, Dec. 2, 1843, imder
the composer's direction. This is Schu-
mann's first work for voices and orches-
tra, and is one of his most important com-
jiositions. It bears the same relation to
the concert hall that Weber's Oberon does
to the stage. The text was chosen largely
from Emil Fechsig's translation of " Lalla
Rookh," but Schumann added several num-
bers to the third part. Characters repre-
sented : A Peri (S.) ; an Angel (A.) ; the
King of Gazna (B.) ; a Youth (T.) ; a
Horseman (Bar.) ; a Maiden (S.) ; and cho-
78
PARADIS
ruses of Indians, Angels, Houris, and Genii
of the Nile. The part of Narrator is sung
by the different voices and the chorus.
This work was first given in Dresden, Dec.
23, 1843 ; in Berlin, Feb. 17, 1847 ; in Dub-
lin, Feb. 10, 1854 ; in London, by the Phil-
harmonic Society, with Mme Jenny Lind
Goldschmidt as the Peri, June 23, 185G ; at
the Theatre Italien, Paris, in December,
18G9 ; and in New York by the Oratorio
Society in 1876. Published by Breitkopf &
Hiirtel (Leipsic, 1845). Schumann Werke,
Serie ix.. No. 1. Same title, cantata by
John F. Barnett, Birmingham (England)
Festival, Aug. 31, 1870. — Heissmaun, Schu-
mann, 129 ; Maitland, Schumann, 85-87 ;
130-131 ; Neue Zeitschr. xxvi. 71 ; Naumann
(Ouseley), ii. 1020 ; Concertwesen im Wien,
ii. 145 ; Signale (1858), 113 ; Allgem. mus.
Zeitg., xlv. 951 ; slvi. 28 ; xlvii. 561, 585,
606, 617 ; lii. 210 ; Athenjeum (1844), 951 ;
(1855), 651 ; (1856), 81G ; Grove, ii. 648 ;
iii. 416; Upton, Standard Oratorios, 273.
PAEADIS, MAEIA THEKESIA VON,
born in Vienna, May 15, 1759, died there,
Feb. 1, 1824. Pianist and, although blind
from her fifth year, a skilful organist, pupil
of Eichter and Ko^eluch, Salieri, and Ei-
ghiui, and in composition of Friberth and
the Abt Vogler. She became a protegee
of the Empress Maria Theresa, her god-
mother, and went in 1784 to Paris, where she
played at the court concerts and Concerts
Spirituels, and at the then newly founded
Professional Concerts. She visited London
in 1786, then Brussels and the most im-
jDortant German courts, and on her return
to Vienna played at the concerts of the
Tonkunstler Societilt. Mozart wrote a con-
certo for her, and a friend invented a system
of notation for her so that she took up com-
position. Towards the close of her life she
devoted herself to teaching singing and the
pianoforte. Principal works: Ariadne and
Bacchus, melodrama, Vienna, 1791 ; Der
Schulcandidat, operetta, ib., 1792 ; Kinaldo
und Alcina, fairy oj^era, Prague, 1797 ;
Deutsches Monument Ludwig's des Ungliick-
lichen, a funeral cantata for the anniversary
of the death of Louis XVI., Vienna, 1794 ;
Trio for pianoforte and strings ; Sonatas,
variations, etc., for pianoforte ; German
songs and Italian canzonets. — Fctis ; Ger-
ber ; Mendel, viii. 15 ; Eiemann ; Schilling ;
Wurzbach.
PAEADIS SOETI DU SEIN DE
L'ONDE. See Africaine.
PAEADISE AND THE PEEI, fantasy-
overture for orchestra, by William Sterndalo
Bennett, op. 42, written for, and first per-
formed at the Jubilee concert of the Phil-
hai-monic Society, London, July 14, 1862.
— Athen.t'um (18^62), ii. 89.
PAEDON DE PLOEEMEL, LE (The
Pilgrimage of PloGrmel), French opura-co-
mique in three acts, text by Jules Barbier
and jMichel Carro, music by Meyerbeer,
first represented at the Optra Comiquo,
Paris, April 4, 1859. Original cast :
Dinorah (S.) Mme Cabel.
HoOl (Bar.) M. Faure.
Corentin (T.) M. Saiute-Foy.
The scene is laid in the village of PloiJrmel,
Brittany. On a certain day, when the in-
habitants of Plourmel make a j)ilgrimage to
the shrine of the Vii-gin, Hool, a goatherd,
and Dinorah, his betrothed, go to receive a
benediction. A storm arises and destroys
Dinorah's house. Hoel, resolving that she
shall not suffer by the loss, and acting on a
wizard's advice, leaves Ploermel in quest of
a treasure which is guarded by the Kori-
gans, fays of Brittany, and spends a year in
the forest in solitude. Dinorah, believing
that her lover has abandoned her, becomes
mad and wanders about with her goat, seek-
ing him. The opera begins at this point.
After a rustic chorus, Dinorah enters and
sings a slumber song to her goat, "Dors,
petite, dors tranquille." Soon HoOl arrives,
and goes to the house of a bagpiper, Corent-
in, to whom he tells the story of the treasure.
Dinorah is seen in the distance, and the act
closes with a trio. The second act begins
with a drinking-song by the wood-cutters.
79
PAEENTI
When they leave the stage, Dinorah enters
and begins a pathetic air ; but seeing her
shadow in the moonHght, she dances to it,
singing meanwhile the famous aria, " Ombre
legfere," or " Shadow Song," a polka ma-
zurka, which is frequently given at con-
certs. The next scene is in the Val Maudit,
where HoOl and Corentin are searching for
the Korigans' treasui-e. Dinorah is heard
singing, and from her words Corentin learns
that whoever touches it first will die. He
refuses to continue the quest, and Hoel,
who sees Dinorah, believes her to be a spiiit.
D^sirSo ArtJt.
She falls from the bridge into the torrent
and is rescued by HoOl, who takes her back
to Ploermel. In the last act Dinorah's rea-
son returns, and she goes with HoOl to the
chapel, while a procession is seen in the dis-
tance wending its way to the shrine. The
overture is a retrospect, and is unique in
having interpolated a chorus, which sings
behind the scenes a chant to the Virgin.
The role of Dinorah, one of the most fan-
tastic and charming of light soprano
parts, has been sung with success by Ade-
Una Patti, lima de Murska and Dosirt'e
Artot. The opera is given in Italian under
the title of " Dinorah." It was represented
in Italian at Covent Garden, London, under
Meyerbeer's direction, July 20, 1859, with
Mme Miolan-Carvalho as Dinorah ; Si-
gner Gardoni, Corentin ; and Signor Grazi-
ani, Hoiil. It was given at Covent Garden
in English, Oct. 3 of the same year, with
Miss Pyne, Mr. Santley, and Mr. Harrison.
It was first represented in New York with
IMlle Cordier as Dinorah. Published by
Brandus & Dufour (Paris, 1859) ; by Bote
& Bock (Berlin, 18G0).— Clement et La-
rousse, 511 ; Mendel, Meyerbeer, 86 ; Eovue
et Gaz. mus. de Paris (1859), 117, 125, 133,
349 ; Athenfeum (1859), i. 522 ; ii. 151,
473 ; Upton, Standard Operas, 153 ; Hans-
lick, Moderne Oper, IGl.
P.\ItENTI, FEANCESCO PAOLO
(MAURIZIO), born in Naples, Sept. 15,
1764, died in Paris in 1821. Dramatic and
church composer, pupil, at the Conserva-
torio della Pieta de' Turchini, of Tarantia,
Sala, and Traetta ; went to Paris in 1792,
and was accompanist and chorus-master at
the Italian opera there in 1802-3. Works
— Operas : Le vendemie, Venice, about
1784 ; II matrimonio per fanatismo, 1785 ;
I viaggiatori felici, about 1785 ; H re pas-
tore, about 1787 ; Nitteti, Venice, about
1788 ; Artaserse, about 1789 ; Les deus por-
traits, Paris, 1792 ; L'homme ou le malheur,
ib., 1795. Masses and motets alia Pales-
trina, and other church music. — Ft'tis.
PARIDE ED ELENA (Paris and Helen),
Italian opera in five acts, text by Calzabigi,
music by Gluck, first represented in Vi-
enna in 1769. This work was written af-
ter Alceste and Orfeo, and continued the
reformation begun in those operas. The
story is from the Iliad ; but Elena is made
Queen of Sparta, and the betrothed, in-
stead of the wife of Menelaus. Characters
represented : Paride, son of Priam, King of
Troy (S.) ; Elena, Queen of Sparta (S.) ;
Erasto (Amore, the god of love), (S.) ; Pal-
lade (Pallas), the goddess (S.) ; a Trojan
(T.) ; and chorus of Trojans and Spartans.
The opera closes with a ballet. Among the
80
' THE NEW YORR
il'UBLIC LIBRARY
1
TlLBf.N FOUNCATION*
TARIS
best numbers ai"e : The Overture in C ; the
ballet music in A minor ; and Paride's first
three arias, " O del mio doles ardor," in G
minor ; " Spiagge amate, ove talora," in
F ; and "La bella immagine," in F minor.
The score was dedicated to the Duke Gio-
vanni di Braganza, and published by Tratt-
ner (Vienna, 1770). The overture was re-
scored by Hans vou Biilow, and jjublished
by Peters (Lei^Jsic, 18(J4). He added two
clarinets in G, two horns in F, and a bass
trombone, to the original score, which re-
quired strings, two flutes, two oboe.s, two
bassoons, two trumpets, two horns, and
drums. A now edition of the opera in
jjianoforte score, by H. M. Schletterer, was
published by Peters (Leij^sic, 18G4) ; and a
new edition of the ballet music, by Carl
Eeinecke, by Brcitkopf & Hartel (Leipsic,
1882). Other operas on the same subject —
in Italian : II ratto d' Elena, by Virgilio Puc-
citeUi, Dantzic, 1C34 ; by Francesco Cirillo,
test by Gennaro Paolella, Naples, 1G55 ;
Elena, regina di Sparta, by Cavalli, Venice,
1659 ; II Paride, text and music by Gio-
vanni Andrea Bontempi, Dresden, Nov. 3,
1(jG2 ; Elena rapita da Paride, by Giovanni
Domenico Freschi, Venice, 1G77 ; L'amorosa
preda di Paride, by G. B. Bassani, Bologna,
1684 ; II giudizio di Paride, by Pollarolo,
Venice, 1G99 ; by Gianettini (Zauettini),
about 1710 ; by K. H. Graun, text by Vil-
lati, Berlin, June 25, 1752 ; by Valentino
Fioravauti, about 1803 ; II giudizio di
Paride corretto della giustizia, serenata,
test by L. N. Cilni, music by P. E. Bal-
dasari, Vienna, July 10, 1707 ; Helena, ossia
la forza dell' amore, text and music by
Eeinhardt Keiser, Hamburg, 1709 ; Paride
in Ida, text bj' Mazzari, music by Coletti
and Carlo Monza, Venice, 1709, revised by
Mendozzi as Le due rivali in gara, Padua
and Bologna, 1719 ; Le nozze di Paride, by
Galuppi, Venice, 1756 ; II Paride, by Pietro
Casella, Naples, 1806 ; and Elena in Troja,
Italian operetta by Eoberto d' Alessio, Na-
ples, January, 1875. Operas in French, Le
jugement de Paris, by Marc Antoiue Char-
pentier, Paris, about 1700 ; by T. Bertin
de la Due, test by Mile Barbier and Pelle-
grin, ib., June 21, 1718 ; by Franz Hor-
zizk}', Eeinsberg, about 1790 ; opera-co-
mique, by Laurent de Eillo, text by Albyaud
Commerson, Paris, Feb. 11, 1859 ; La belle
Hc'lene, by Offenbach, ib., Dec. 17, 18G4 ;
La belle Helene dans sou menage, by
Georges Eose, ib., 1867 ; ballet by Mehul,
ib., 1793, and cantata by Salieri, ib., 1787.
Operas in German : Paris und Helena, test
by David Schirmer, composer of music un-
known, Dresden, Dec. 2, 1650 ; by Johann
David Heinichen, Leipsic, 1709 ; by Peter
von Winter, Munich, 1780 ; Der Eaub der
Helena, ballet by Josef Weigl, Vienna, May
16, 1795 ; Paris und Helena, ballet by J.
N. Hummel, about 1810 ; Der trojanisclie
Krieg (second part of Die schOne Helena),
by W. Homann, test by SchObel, Hamburg,
August, 1867 ; and music to Euripides's He-
lena, by Louis Kuhler, about 18G0. Operas
in English : The Judgment of Paris, masque,
by Congreve, music by Purcell, Eccles,
Weldon, and Finger, London, March 11,
1701 ; new music, by Dr. Arne, ib., 1740 ;
oi^ora, by F. H. Barthi'lemon, ib., 1770 ; and
a ballet, by D. Steibelt, ib., 1804.— Marx,
Gluck und die O^Jer, i. 396-433 ; ii. 377 ;
Schmid, Eitter von Gluck, 135-154 ; Bitter,
Eeform der Oper durch Gluck, 256 ; Eeiss-
mann, Gluck, 129 ; AUgem. mus. Zeitg., xiv.
632 ; (1864), 849, 865, 869.
PAEIGI, O CAEA. See Tramata.
PAEIS, CLAUDE JOSEPH, born at Ly-
ons, March 6, 1801, died in Paris, July 25,
1866. Dramatic composer ; studied first in
his native city, then was j)upil of Lesueur
at the Conservatoire, Paris, where he won
the second grand prix in 1825, and the first
in 1826. He then studied two years in
Eome and Naples, returned to Paris, then
to Lyons, and about 1835 became chef
d'orchestre at the Theatre du Pantheon,
Paris. Works : L' alloggio militare, opera
buffa, Vienna, 1829 ; La veillee, Paris, Ope-
ra Comique, 1831 ; Le cousin de Denise,
Theatre Beaumarchais, 1849 ; ballet, The-
81
PARISE
aire de la Porte Saint-Martin, 1825 ; Her-
minie, cantata, 182G. — Futis ; do., SuppK'-
ment, ii. 304.
PARISE, GENNAEO, born at Naples
during the last j-ears of the 18th century.
Church composer, pupil of his father, but
formed himself chie% by studying the
works of the gi'eat masters. He became ma-
estro di cajipella at the cathedral and several
other churches of Najiles, and in ISGljwofes-
sor at the Koyal College of Music. "Works :
Masses with orchestra ; Do. alia Palestrina ;
Do. for 3 voices, with organ ; Short masses
and vesjjers, with organ and harp ; Requiem
with full orchestra ; 2 do. alia Palestrina ; 3
complete vespers with all the psalms, do.;
Other psalms with fuU orchestra ; Dixit,
Credo, Te Deum, etc., hymns with orches-
tra, or organ, or alia Palestrina. — Fetis.
PARISER SmFONIE, for orchestra, in
D, by Mozart, first performed at the Concert
Spii-ituel, Paris, June 18, 1778, with gi-eat
success. L Allegi'o assai ; H Andantino ;
UL iVllegro. The opening phrase of the
first movement was -wi-itten with regard to
the "premier coup d'archet," for which the
Paris orchestra was famous. Legros, by
whom Mozart was commissioned to write
the symphony, wished him to insert a
lighter movement in place of the Andan-
tino. Mozart acquiesced, and the sym-
phony in its new form was played in Paris,
Aug. 15, 1778. It is one of the compos-
er's most fully scored symphonies, and is
usually given as originally written. It was
PARISH- ALVARS, ELI AS, born at
Teignmouth, England, Feb. 28, 1808, died
in Venice, Jan. 25, 1849. Virtuoso on the
harp and pianist, pupil of Dizi, Labarre,
and Bochsa ; became one of the most dis-
tinguished performers on the harp ; visited
Germany in 1831, and played at Bremen,
Hamburg, and other places with great suc-
cess. After visiting Milan, he went in 1836
to Vienna, where he remained two years ;
travelled in the East in 1838-42, and on his
return gave concerts in Leipsic, and visited
Bei'lin, Frankfort, Dresden, Prague in 1843,
and Naples in 1844. In 184G he went to Leip-
sic, where his association with Mendelssohn
imjjroved his composition, and in 1847 ho
settled in Vienna and became chamber mu-
sician to the Emperor. Works : 2 concertos
for harp and orchestra ; Concertino for two
harps and orchestra ; Fantasias, transcrip-
tions, romances, and melodies, for harp and
orchestra, harp and jHanoforte, etc.; Marcli
for harp ; Voyage d'uu liarpiste en Orient,
a collection of airs and melodies pojjular in
Turkey and Asia Minor. — Grove ; Fetis ;
IMendel ; Wnrzbach.
PARISIAN BACCHANALE. See Tann-
liduser.
PARISIENNE, LA, French revolutionary
song, text by Casimir Delavigne, music by
Brack, supposed to have been written in
1757, at the time of the siege of Harburg.
The music was transposed by Auber, who
composed for it additional bars of instru-
mental accompaniment. It was first sung
performed at the Crystal Palace, London, i in public at the Theatre de la Porte Saint-
March 15, 1873. The autograph, in pos- [ Martin, Paris, Aug. 2, 1830, and at the Aca-
session of Andre (Offenbach), was published dcmie Royale de Musique, Paris, Aug. 4,
by Breitkopf & Hiirtel, Mozart Werke, Serie 1830, during a representation of La muette
viii.. No. 31. A second symphony is said to
have been written bj' Mozart in Paris at
that time and first perfonned there, Sejit.
18, 1778, but the score of this has been
lost. — KiJchel, Verzeichniss, No. 297 ; An-
dre, Verzeichniss, No. 127 ; Jahn, Mozart,
ii. 287 ; Nissen, Mozart, i. 377, 385 ; Geh-
ring, Mozart, 7G ; Mozart's Letters (Lady
Wallace), i. 208 ; Grove.
de Portici, by Adolphe Nourrit, who sang it
every evening for several months, and it
was greatly owing to him that it became
popular. The subject is the triumph of
the Orleanist party. Of late years a con-
troversy has arisen regarding its origin.
The air, which is bold and martial, was pre-
viously introduced into Le baron de Trenk,
a comedie-vaudeville in two acts, by Scribe
82
PARISDSTA
and Delavigne, Paris, Oct. 4, 1828. Henri
Herz wrote variations on this air, op. 58,
published by Seliott (Mainz, 1830).— Grove,
ii. G49 ; Larousse ; Eevue et Gaz. mus. de
Paris (April i), 1849).
PARISINA, overture for orchestra, in
F-sharp minor, to Loi-d B3'ron's j^oem of
the same title, bj' William Sterudale Ben-
nett, op. 3, composed in 1834-35, and first
performed in Loipsic, in March, 1837, and
at the London Philharmonic in 1839. It
was given at the Euterpe Concert, Leipsic,
Feb. 1, 187G. Published by Kistner (Leip-
sic, 1S7C).
PARISINA, Italian opera in three acts,
text by Romani, music by Donizetti, first
represented at the Pergola, Florence, March
18, 1833. The story is fi-om Byron's "Pa-
risina." Azzo, Duke of Ferrara, who has
put his wife, Matilda, to death, marries
a young and beautiful woman, Parisina,
who loves Hugucs, a young soldier who has
won renown under Ernest, the Duke's gen-
eral. Hugues, victor in a tournament, is
crowned by Parisina, who betrays Ler af-
fection for him. On making this discovery,
Azzo has the two arrested and sentenced to
death. Ernest reveals to him that Hugues
is his child, whom Matilda left in his charge.
Although Azzo hates this son, lie revokes
the sentence and orders him to be banished.
The order comes too late, for at the moment
■when Parisina makes her last prayer Ernest
appears, and, drawing a curtain, discloses
the corpse of Hugues, upon \?hich Parisina
falls dead. Original cast :
Parisina (S.) Mle Ungher.
Hugues (T.) M. Duprez.
Azzo (B.) M. CoseUi.
This ojjera was given at the Theatre
Italien, Paris, Feb. 24, 1838, with Grisi,
Eubini, and Tamburini in the cast. Pub-
lished by Ricordi (Milan). — Clement et
Larousse, 512 ; Revue et Gaz. mus. de
Paris (1837-38), 101 ; Allgem. mus. Zeitg.,
xxxvii. 405.
Dance of Sirens,
PARKER, HENRY, born in London,
Aug. 4, 1845, still living, 1890. Instru-
mental and vocal
composer, pupil at
Lei2")sic of Moscheles,
Eichter, and Plaidy,
and in Paris of Le-
fort. Works: Pa-
mela, gavotte for or-
chestra ; Clarissa,
minuet for do. ; Do-
rothea, sarabande,
do. ; P a V a n n e d e
Guise, do. ; Imogen, do.
do. ; 400 songs and pianoforte jjieces.
PARKER, HORATIO WILLIAM, Iwrn,
of American par-
ents, at Auburn-
dale, Massachu-
setts, Sept. 15,
18G3, still living,
1890. Organist
a n d composer,
pupil from 1877
of his mother, an
accomplished mu-
sician, then in
Boston of Stephen
A. Emery in har-
mony and pianoforte, of John Orth in piano-
forte, and of George W. Chadwick in comjjo-
sition. In 1880 he was organist of St. Paul's,
Dedham, Mass., and in 1881 of St. John's,
Boston Highlands. In 1882 he went to
Munich, where he studied for three years the
organ and composition under Josef Rhein-
berger, and conducting under Ludwig Abel.
In 1885 his cantata. King Trojan, was suc-
cessfully given in Munich. On his return
to America in the same year he became j)ro-
fessor of music at the Cathedral Schools of
St. Paul and St. IMary, Garden Citj-, Long-
Island ; in lS8(i he became organist and
choirmaster at St. Andrew's Church, Har-
lem, New York, and in 1887 resigned his
position in St. Paul's, but retained that in
St. Mary's School ; in 1888 became organist
and choirmaster at the Church of the
I ^■^
PAIiKEli
Holy Trinity, Madison Avenue, New York.
"Works: Concert overture, in E-flat, given
in Munich, 1884 ; Psalm xxiii., for female
chorus, organ, and harp, ib., 1884 ; Ro-
mance for chorus and orchestra, ib., 1884 ;
Symphony in C major, orchestra, ib., 1885 ;
Kegulus, heroic overtui-e, ib., 1885 ; King
Trojan, ballad for chorus or orchestra, ib.,
1885 ; String quartet in F major, Garden
City, 188G ; Der Normanuenzug, ballad for
male chorus and orchestra. New York, 1889 ;
Chamber music ; Organ and pianoforte mu-
sic ; Songs and jiart-songs for male, female,
and mixed voices.
r.\ItKER, JAjMES cutler DUNN,
born, of Amer-
ican parentage,
in Boston, Mas-
sachusetts, June
2, 1828, still liv-
ing, 1890. Or-
ganist; was
g r a d u ated at
Hai-vard Col-
lege in 1848,
and began to
study law, but
soon gave it up for mu.sic, and, after prelim-
inary- study in Boston, went in 1851 to Eu-
rope and studied, in Leipsic, the pianoforte
under Moscheles and Phiidy, hai'mony un-
der Hauptmann, and composition under
Rietz and Richter. In 1854 he returned to
Boston and soon took a prominent jilace as
organist, leader, and instructor. In 1862 he
organized the Parkiu' Club, an amateur vo-
cal association which gave classical works
with success. He has been organist of the
Handel and Haydn Sociot\', and for the past
twenty-four years organist and choir direc-
tor of Trinity Cluu-ch, Boston ; and has
held a 2)rofessorship in the College of Mu-
sic connected with the Boston University.
"Works : Redemption Hymn, for contralto
solo and chonis, wi-itten for the fourth trien-
nial festival of the Handel and Haydn Soci-
ety, May 17, 1877 ; The Blind King, cantata,
188G ; Church music. Didactic : Manual of
Sterndale Bennett.
Harmony (1855) ; Theoretical and Practical
Harmony (1870).
PARKER, LOXnS NAPOLEON, born at
Calvados, France, Oct.
21, 1852, still living,
1890. I'ianist ; studied
in Italy, France, and
Germany, and fro m
1870 at the Royal Acad-
emy of ]\Iusio, London,
under Harold Thomas,
"Walworth , B a n i s t e r,
Steggall, Cusins, and
In 1874 he was elected
an Associate of the Royal Academy of Mu-
sic, and he has been since 1877 director
of music in the King's School, Sherborne.
Works : Silvia, dramatic idyl, text by Sew-
ard Mariner (Walter Raymond), for four
solo voices, chorus, and small orchestra,
1880 ; Psalm xxiii., motet for female voices ;
The Wreck of the Hesperus, trio for female
voices, text by Longfellow ; Cantate Do-
mino and Deus misereatur ; Overtures for
orchestra (MS.) ; "Violin music ; Pianoforte
music ; Songs.
PARLAR, SPIEGAR. See vl/o.s^ in
Egitto.
PARJIENTIER, CHARLES JOSEPH
THEODORE, born at Barr (Bas-Rhin),
3*Iarch 14, 1821, still living, 1890. Ama-
teur composer, general in the French army,
where he served with distinction in the
coqjs of engineers, and took part in the
campaigns in the Crimea, 1855, Italy, 1859,
and France, 1870-71 ; was wounded at
Wiirth, and taken prisoner at Sedan. He
is the husband of the violin virtuoso Te-
resa Milanollo. Works : Grande polonaise
de Weber, for orchestra ; 2 polkas for do.;
4 pieces and fugue for organ ; 9G preludes
and versets, do. ; Nocturnes, barcarolles, ca-
prices, etc., for pianoforte ; Choruses for 4
male voices ; Romances ; German songs and
Balladen. — Fetis ; do., Supplement, ii. 304.
PARNASSO CONFUSO, IL (Parnassus
in Confusion), festa teatralo in one act, text
by Metastasio, music by Gluck, first reprc-
84
PAENASSO
sented in the palace of Sclionbrunn, Jan.
23, 1765, on the wedcling day of Josejsli 11.
and Maria Josepha of Bavaria, for which
occasion both tlie text and music were
written. The Archduke Leopold conducted
and accompanied the play on the clavecin.
The part of Apollo was sung by the Prin-
cess Amalia, and the Three Graces, hy Eliz-
abeth, Charlotte, and Josephine. — Marx,
Gluek und die Oper, i. 33.'5 ; Sehmid, Ritter
von fUiK^lc, 115.
PAI'iNASSO IN FESTA, Italian sercnata
by Handel, first represented at the King's
Theatre, London, March 13, 1734, in honour
of the marriage of the Princess Anne with
the Prince of Orange, which took place on
the following day. The royal family was
I^resent at the first performance ; the work
was repeated several times. It was given
without dramatic action and in one gayly
decorated scene, representing Mount Par-
nassus, with Apollo and the Muses seated,
celebrating the marriage of Peleus and
Thetis. The work contains only thirteen
new airs, the rest of the music being ta-
ken from Handel's oratorio, Athaliah, which
had not been heard in London at that
time, and to which ho afterwards added sev-
eral new airs from the Paruasso in Festa.
Characters represented : Apollo (S.) ; Orfeo
(S.) ; Cho (S.) ; Calliope (S.) ; Cloride (A.) ;
Eurilla (A.) ; Euterpe (A.) ; Proteo (B.) ; and
chorus of nymphs and shepherds. At the
close of the wedding ceremony, March 14,
the choir sang an anthem, "This is the
day," with orcliestral accompaniments, the
music of which was selected by Handel
from Athaliah, the Parnasso in Festa, and
the seventh Chandos Anthem. The MS.
conducting score of this and of the Par-
nasso in Festa are in the Public Library,
Hamburg. In each the music is in Smith's
handwriting and the text in Handel's. The
Parnasso in Festa was published by the
Hiindelgesellschaft, Breitkojjf & Hilrtel
(Leipsic, 1878). — Chrysander, Hilndel, ii.
319, 358 ; Scha-lcher, "Hilndel, 103 ; Rock-
stro, 201 ; Burncy, iv. 374.
PARRATT, WALTER, born at Hudders-
field, Yorkshire, England, Feb. 10, 1841,
still living, 1890. Organist, pupil of his
father, Thomas Parratt (organist at Hud-
dersfield), and in Loudon of George Cooper.
Organist at Armitage Bridge Church, 1852 ;
St. Paul's, Huildersfield, 1854-GO ; at Wit-
ley Court, Worcestershire, 18G1-G7 ; Wigan
Parish Church, 18CS-71 ; Magdalen College,
Oxford, 1872-81 ; appointed to St. George's
Cliapel, Windsor, in 1882, vice Sir George
Job Elvej'. In 1873 he became Mus. Bac,
Oxford, and in 1883 professor of the organ
in the Eoyal College of Music. Works :
Music to Agamemnon, given at Oxford,
1880, and to The Story of Orestes, Prince's
Hall, 188G ; Anthems ; Songs ; Organ music.
PARRY, CHARLES HUBERT HAST-
INGS, born at Bournemouth, Feb. 27, 1848,
still living, 1890. Instrumental and vocal
composer, educated at Eton and Christ
Church, Oxford ; pupil of Elvej', and in
Stuttgart of Pierson ; in London, of Mac-
farren and Dannreuther. Mus. Bac, 1870 ;
Mus. Doc, Oxford ; do., Cambridge (hon-
orary degree), 1883 ; professor at Eoyal
College of Music ; choragus of Oxford Uni-
versity : professor of composition and mu-
sical history in Royal College of Music.
Works : Scenes from Shelley's " Prometheus
Unbound," for soli, chorus, and orchestra,
Gloucester Festival, 1880; Music to "The
Birds" of Ai-istophanes, Cambridge, 1883;
Judith, oratorio, Birmingham Festival,
1888 ; Ode for chorus and orchestra ; Guil-
lem de Cabestanh, overture. Crystal Palace,
1879 ; Symjshony in G, Birmingham, 1882 ;
do. in F, Cambridge, 1883 ; do. in C, Phil-
harmonic Society, Loudon, May 23, 1889 ;
Suite moderuc, Gloucester Festival, 188G ;
Concerto for pianoforte and orchestra ;
Nonet for wind instruments ; Quartet for
pianoforte and strings ; 2 trios for do. ;
Quintet for strings ; Quartet for do. ; So-
nata for j)ianoforte and violin ; 2 sonatas for
pianoforte and violoncello ; Sonatas for pi-
anoforte ; Duo for 2 pianofortes ; O Lord,
thou hast, cantata ; Morning and Evening
86
PAERY
Service ; 3 Odes of Anacreon ; Charakter-
bilder, for pianoforte ; Songs, etc. — Grove ;
Riemann ; Crystal Palace Programmes
(1878-79), 523.
PARRY, JOHN, born at Denbigh, North
Wales, Feb. 18, 1776, died in London, Apul
8, 1851. Clarinet player and teacher, com-
I^oser of songs and dramatic music. He
received his earliest education from a danc-
ing master, joined the band of the Den-
bighshire militia in 1795, became master
in 1797, resigned in 1807 ; settled in Lon-
don as teacher of flageolet. He was en-
gaged in 1809 to compose songs for Vaux-
hall Gardens, and adapted English vrords
to many Welsh melodies. He composed
the music for the extravaganzas. Harlequin
Hoax, 1814 ; Oberon's Oath, 181G ; and
High Notions, 1817 : and wrote both text
and music for Fair Cheating, 1814 ; Helji-
less Animals, 1818 ; Two Wives, 1821 ; My
Uncle Gabriel, etc. He also adapted music
for Ivanhoe, 1820, and Caswallon, a tragedy,
1829. He was for many years conductor of
the Cynimrodorion .and Eistcddvod.an, or
Congresses of Welsh bards, hold in various
places in Wales ; received in 1821 the de-
gree of Bard d Alaw, or Master of Song.
He was author of An Account of the Rise
and Progress of the Harp ; An Account of
the Royal Musical Festival held in West-
minster Abbey in 1834, of which he w.as sec-
retary. Was nuisical critic for the "Morn-
ing Post " from 1834 to 1848. He imblished
also a collection of Welsh melodies under
the title of the " Welsh Harper." — Grove ;
FtJtis ; Riemann, G7G ; Mendel.
PARRY, JOSEPH, born at Merthyr-Tyd-
vil, Wales, May 21, 1841, still lining, 1890.
Dramatic composer, son of Daniel Parry,
■who removed to the United States in 1853.
Joseph returned in a few years, and after
receiving some instruction in music at his
native place went back to America, where he
continued his studies. In 18G8, through
the aid of Brinley Rich.ards and others, he
was enabled to enter the Royal Academy of
Music in London, where he studied until
1871 under Sterndale Bennett, Garcia, and
Steggall. A bronze medal was awarded
liiin in 1870, a silver
one in 1871, and in the
same year his overture
to the Prodigal Son
was given at the Acad-
cmj-. In 1871-78 he
was professor of music
at the University Col-
lege at Aberystwith,
in 1879-8G principal
of the Music College
of Wales at Swansea, and since then has been
professor at Cardiff University. Mus. Bac,
Cambridge, 1871 ; Mus. Doc, ib., 1878.
Works : Blodwen, opera, Aberdare, and Al-
exandra Palace, London, 1878 ; 2 other op-
eras (MS.) ; Emmanuel, oratorio, St. James's
Hall, London, May 12, 1880 ; 2 other ora-
torios (]MS.) ; G overtures ; Sj'mj^hony for
full orchestra ; Anthems ; Druids' Chorus,
1888, and other cantatas ; 400 songs ; Piano-
forte music, etc — Grove ; Riemann.
P.;VRSIFAL, a festival stage-consecration
play in three acts, text and music by Rich-
ard Wagner, first represented at Bayreuth,
July 2G, 1882, with the following cast:
Ainfortas (Bar.) Herr Roichmann.
Titurcl (B.) Herr Kindcrmaiin.
Gurnemanz (B.) Herr Scaria.
Parsifal (T.) Herr Winckelmann.
Klingsor (B.) Herr Carl Hill.
Kundi-y (S.) Frau Materna.
The action takes place in and near the
Castle of Mon.salvat, Spain, where the Holy
Grail is kept, and whence came Lohengrin,
son of Parsifal (called Parzivid in Lohen-
grm), in his swan-boat, to the rescue of
Elsa of Brabant. The Holy Grail, the
crystal chaUce used by Christ at the eu-
charist and in which Joseph of Arimathea
caiight the Saviour's blood after the lance-
thrust, is in charge of the Knights of the
Holy Grail, who derive from it all their
sustenance, physical as well as spiritual.
In order to share in the benefits to be de-
8C
PAESIFAL
rived from its adoration, tbo Kuiglits are
required to lead lives of purity. Amfortas,
their king, who has fallen from this estate,
is suffering from a wound received in an
encounter with the magician Klingsor.
Klingsor, who aspired to become a Knight
of the Grail but had been rejected, studied
the magic arts and created for himself a
fairy j)alace at the foot of the mountain on
which stands the castle, peopling it with
beautiful women to tempt the Knights of
WincVelmann, as Parsifal.
the Grail. Kundry, one of these women,
beguiles Amfortas, who falls into the power
of Klingsor, and loses the holy spear — the
spear with which the Saviour's side was
pierced — receiving from it a wound which
will never heal until the coming of " der
reiueThor" (the gxiileless fool), appointed
to cure him. Parsifal (whose name Wagner
derives from two Ai-abic words signifying
" foolish pure-one "), who has been reared by
his mother in ignorance of the world, has
his chivalric nature aroused by sight of
some knights, and starts out in search of
adventure, armed only with his bow and
arrows. He shoots a swan in the vicinity
of the Castle of the Grail, where all animals
are sacred, and when questioned by Gurne-
manz, one of the Knights of the Grail, ap-
pears to be unaware that he has committed
any wrong. In hope that he may prove to
be der reine Thor, he is led into the great
hall of the castle and permitted to witness
the adoration of the Grail. Parsifal is be-
wildered at the splendour of the holy vessel,
which glows with ever-increasing light, and
at the ceremonial, but acknowledges that
he does not understand the rite and is
ignominiously cast out. The second act is
in the palace and gardens of Klingsor, who,
recognizing Parsifal as the promised re-
deemer, turns all his magic powers against
him ; but Parsifal overcomes wicked knights
sent against him and is proof against the
fascinations of the flower-maidens who seek
to seduce him. Kuudry, who leads a dual
life — in the service of the Knights of the
Grail as well as in that of the sorcerer —
also fails ; but Parsifal, who siiuriis her,
learns from her kiss the meaning of all that
has taken place, and demands to be led to
Amfortas. She, declaring he shall never
find the way to the castle, summons Kling-
sor, who hurls the sacred spear at Parsifal.
It remains suspended in the air, and Parsi-
fal, grasjDing it, makes with it the sign of the
cros.s, and the enchanted palace disajijiears ;
Parsifal and Kundry are left alone in a
desert, and while she sinks to the ground
he turns from her to seek the Castle of the
Grail. In the third act Parsifal, after wan-
dering for years, at last meets Gurnemanz,
now an old man living as a hermit in the
forest, where Kundry is serving him. Gur-
nemanz, recognizing the sacred spear, hails
him king, and Parsifal, after baptizing
Kundry, is led to Monsalvat just as the
tolling bells announce the funeral of Titu-
rel, father of Amfortas. Parsifal heals the
wound of Amfortas by touching it with the
spear, and, while Kundry dies in the joy of
87
PARSONS
repentance and the others kneel in homage,
proclaims himself Iving of the Grail and
raises on high the chalice amid the joyful
chants of the knights. Parsifal, like Lo-
hengrin, is founded on the Ai-thurian legend
of the Holy Grail, and follows, with some
changes, the metrical romance of "Parzi-
val," by Wolfram von Eschenbach. The
poem of Parsifal was published by Schott
(llainz, 1877) ; the sketch of the first act was
completed in the spring of 1878, the second
act, Oct. 11, the third, April, 1879, and the
orcliestration was finislied at Palermo, Jan.
13, 1882. The Vorspiel was first performed
privately by the Meiiiingcn orchestra, un-
der the composer's direction, at Bayreuth,
Christmas, 1878. It was given sixteen
times at Bayi'euth in 1882, and was rejieated
in 1883, 1881, 188G, and 1889. It was sung
as an oratorio by the Royal Albert Hall
Choral Society, London, Nov. 10 and 15,
1884, and by the Oratorio Society of New
York, March 4, 188G. Full score iDublished
by Schott (Mainz, 1882) ; pianoforte score,
by Jo.seph llubinstein (ib., 1882). English
translation by H. L. and F. Corder (ib.,
1882). — Wagner, Gesammelte Schriften, x.
417; Pohl, Wagner, 323; Nohl, Wagner
(Upton), 159 ; Wolzogen, Leitfadcn durcli
Parsifal ; Bartsch, Parcifal (1870-72) ; !
Brachvogel, Parcival (Berlin, 1877) ; Wolf-
ram von Eschenbach, Parcival aus dcm
Mittelhochdeutschen von Sau-Marte (A.
Schulz, Leipsic, 1858) ; Wolfram von Esch-
enbach, Parcival Fragmente vom Titurel
luid Willehelm und Lieder-Lachmann ;
Wolfram von Eschenbach, Parcival Epos ;
Carl Simrock, Parcival, dritte Auflage (1857);
Eichberg, Pai-sifal (Leipsic, 1882) ; Mayer-
]\Iarkau, Parsifal (:Magdeburg, 1882) ; Max
Gutenhaag, Parsifal (Leipsic, 1883) ; All-
gem, deutsche mus. Zeitg. (1877), No. 49 ;
Bayreuther Blatter (1878), 95, 119, 222 ;
(1879), 12, 47, GG, lOG ; (1881), 112, 181,
206, 238, 272, 342 ; (1882), 189 ; (1883), 57,
264 ; (1884), 97 ; (1885), 27 ; (1886), 41, 69,
103; (1888), 277; Neue Zeitschr. (1882),
301, 341, 353, 361, 429, 471, 527 ; (1883),
318; (1884), 317, 326; (1888), 387, 399;
Mus. Wochenblatt (1882), 313, 325, 337,
357, 369, 395, 606 ; (1883), 369, 386 ; (1884),
457, 469 ; Signale (1882), 641 ; Athenteum
(1882), ii. 151, 183 ; (1884), ii. 633 ; Acad-
emy (1882), ii. 91, 109; (1888), ii. 169;
Ki-ehbiel, Review (1885-86), 159; Grove,
iv. 364 ; Upton, Standard Operas, 308.
PARSONS, ALBERT ROSS, born, of
American parentage, in Sandusky, Ohio,
Sept. 16, 1847, still living, 1890. Organist
and pianist ; he studied in 1854-56 the
pianoforte under Robert Denton in Buffalo,
in 1863-66 the pianoforte and theory under
Dr. F. L. Ritter in New York, and in 1867-
69, at the Leipsic Conscrvatorium, piano-
forte under Moscheles, Reinecke, Weuzel,
and Pappeiitz, and countei'point and fugue
under E. F. Richter and Oscar Paul. The
following j'ear ho studied in Tausig's High
School for Pianists, in Berlin, iiianoforte
under Tausig, and harmony, counterpoint,
and fugue under C F. Weitzmann, and
in 1871, in the same city, at Kullak's New
Academy of Music, pianoforte under Kul-
lak and composition tinder Richard Wiierst.
On his return to America he settled in New
York, where he has since resided. He has
occupied tlic following jrositions : 1861-62,
organist of Third Pre.sbyteriau Church,
Indianapolis ; 1863-66, organist of First
Baptist Church, Indianapolis ; 1873, princi-
])al of department of instrumental music
in New York Institute for the Bhnd ; 1874-
79, organist of First Reformed Episcopal
Church, New York ; 1875, editor of " Ber-
ham's Musical Review ; " 1877, editor of
" The Orpheus," New York ; 1879-85, or-
ganist of Church of the Holy Trinitj', New
York ; since 1885 organist of Fifth Avenue
Presbyterian Church, New York. In 1889
he was elected ^jresident of the Music
Teachers' National Association. He is
the translator and editor of the follow-
ing : Wagner's " Beethoven," Lessmann's
" Liszt," Kullak's " Comjjlete Works of
Chopin," HoUilnder's " Complete Works of
Schumann,'' and other works of impor-
PARTAGEZ-VOUS
tance ; and has edited and annotated many
pieces for instructive purposes. His orig-
inal compositions include songs, vocal quar-
tets, etc.
PAETAGEZ-VOUSMESFLEURS. See
HamJet.
PARTANT POUR LA SYRIE, French
song, text by Count Alexandre de Laborde,
music by Queeu Hortense, written in 1809.
It was suggested by a picture which the
Queen showed Count Laborde, representing
a knight cutting an inscription on a stone
Avith his sword. Louis Napoleon took his
mother's melody for a national air when
he ascended the throne of France in 1853,
and it was arranged for military bands.
Drouet claims to have had a share in its
composition, and a claim has been made for
Narcisse Carbonel, Queen Hortense's accom-
panist. Dussek wrote variations for the pi-
anoforte in E-flat on this tune. — Grove ;
Larousse ; Mile Cochelet's (Mnie Parquiu)
Momoires sur la Eeine Hortense, i. 4.5 ;
Masson, La Lyre franraise, lOG.
PART DU DL\BLE, LA, opura-comique
iu three acts, text by Scribe, music by
Auber, first represented at the Opera Co-
mique, Paris, Jan. IG, 1843. Subject, Philip
V. of Spain, who after the death of his sou
had fallen into a state of despair and melan-
choly, and is restored to health by the jDOwer
of music through the singing of Farinelli
(Carlo Broschi), whom the Queen employs
for this purpose. Afterwards Farinelli plays
the part of Satan in order to win Philip's
consent to the union of a young student,
Rafael d' Estuniga and Caselda, Farinelli's
sister, with whom the King also is in love.
Mme Rossi-Caccia sang the part of Farinelli
ill the original cast. The opera was given
iu Berlin and Leijssic in 1843. Published
by Schott (Mainz, 1843).— Clement et La-
rousse, 514 ; Allgem. mus. Zeitg., slv. 8G1.
PARTENIO, GIOVANNI DOMENICO,
died at Venice in 1701. Dramatic and
church composer, of a family from Friuli,
who had settled at Venice. He became a
priest, and was at first a singer in the ducal
chapel of S. Marco, where he succeeded
Legreuzi as second maestro di cappella, in
1G85. Shortly after this he founded the
philharmonic society, and in 1090 was made
director of the Couservatorio de' Mendicanti ;
in 1G92, maestro di cappella at S. Marco.
Works — Operas : Genserico, Venice, 1GG9 ;
La costanza trioufaute, 1G73 ; Diouisio,
1G81 ; Flavio Cuniberto, 1082. Much
church music. — Fetis.
PARTENOPE, Italian opera in three acts,
text by Silvio Stampiglia, nuisic by Handel,
first represented at the King's Theatre, Lon-
don, Feb. 24, 1730. The original score, in
Buckingham Palace, is dated at the end of
the first act, Jan. 14 ; at the end of the opera,
Feb. 12, 1730. Besides the overture there
are in this work four sinfonie — short in-
strumental interludes — and many beautiful
arias. The aria, " Furibondo spira il vento,"
has been published with additional accom-
jsanimeuts by Robert Franz (Kistner, Leip-
sic). Burney considers this one of Han-
del's best ojjeras. Original cast : Par-
tenope. Queen of Parthenope (Naples), and
lover of Ai'sace (S.), Signora Strada ; Ros-
mira. Princess of Cyprus and lover of Arsace
(A.), Signora Merighi ; Arsace, Prince of
Corinth, once lover of Rosmira, now of
Partenoi^e (C), Signor Bernacchi ; Armindo,
Prince of Rhodes, lover of Partenope (A.),
Signora Bertolli ; Einilio, Prince of Cuma,
lover of Partenope (T.), Signor Fabri ; Or-
monte, cajjtaiu of the guards of Partenope
(B.), Signor Riemschneider ; and chorus of
soldiers and people of Najjles. The opera
was given only seven times during the first
season, but it was revived the following
year and received seven more representa-
tions, when several alterations were made,
especially in cutting the recitatives. Par-
tenope was translated into German by H.
Wend, and represented in Hamburg with
recitatives by Reinhard Keiser in 1733.
Published by Walsh ; Hiindelgesellschaft,
Breitkopf & Hiirtel (Leipsic, 1879). Other
Italian operas of the same title : By Cal-
dara, Venice, 1707 ; by Luca Antonio Pre-
89
PASCAL
dieri, Bologna, 1719 ; bj' Sarri, IMetastasio's
text, Naples, 1722 ; by Porpora, ib., about
1742 ; by J. A. Hasse, Vienna, 1767 ; a
dramatic cantata by Kossini, Naples, May
9, 1819 ; and Partenope, by Cordelia, Na-
ples, about 1830. — Cbrysander, Handel, ii.
237 ; Buruey, iv. 344^349.
PASCAL, FLORIAN. See Williams,
Joseph.
PASCAL, PEOSPER, born in France
about 1825, still living, 1890 (?). Dramatic
comjjoser, and musical critic. "Works : Le
reman de la rose, given in Pai-is, Theatre
Lyiique, 1854 ; La nuit aux gondoles, ib.,
18G1 ; Le cabaret des amours. Opera Co-
mique, 1862 ; Fleur de lotus, Baden-Baden,
1864 ; Les Temijliers, grand opera. Les
chants de la veillue, collection of vocal
melodies. — Fetis, Supplement, ii. 305.
PASMORE, HENRY BICIvFORD, bora,
of English pai'entage, in Jackson Township,
"Wisconsin, June 27, 1857, still living, 1890.
Organist ; began the study of music in
San Francisco when twenty years old,
pupil on the organ and in harmony of John
P. Morgan, and in singing of S. J. Morgan.
In 1882 he went to Leijjsic, and studied
hai-mony and composition under S. Jadas-
sohn and C. Reiuecke, and singing under
Frau "Uuger-Haujit ; then, in London, sing-
ing under William Shakespeare and R. H.
Cummings. On his return to America he
settled in San Francisco, where he is organ-
ist of St. John's Episcopal Church ; also
professor of vocal music in University of
the Pacific, San Jose, "^'orks : Conclave
March, for orchestra, performed at Sinfonie-
Conzert, Leii^sic, 1883 ; Overture to Miles
Standish, performed at Leipsic Conserva-
torium concert, 1884 ; Suite for organ and
string orchestra ; Tarantelle for pianoforte ;
Kyrie from Mass in F ; Mass in B-flat ;
Rainy Day, Sechs Lieder, Sea Song, Stars
of the Summer Night, Those Evening Bells,
Among the Heather, and other songs ; also,
pai't-songs for male voices.
PASQUINI, BERN.IRDO, born at Massa
di Valnevola, Tuscany, Dec. 8, 1637, died
in Rome, Nov. 22, 1710. Organist, pupil
of Loreto Vittori and of Antonio Cesti, but
foi'med himself chiefly by studying the
works of Palestrina ; went to Rome when
quite young, and became organist at S. M.
Maggiore ; later received the title of organ-
ist to the Senate and the Roman j^eople,
and was also chamber musician to Prince
Borghese. "Works : Dov' e amor e pietu,
opera, Rome, 1679 ; Allegorical drama, ib.,
1686 ; La forza d' amore, ojsera ; La sete
di Crislo, oratorio ; Toccates et suites pour
le clavecin (Amsterdam, 1704) ; Organ mu-
sic ; Saggi di contrapinmto (1695). — Fetis ;
Mendel ; Schilling.
PASSACAGLIA, a work for the organ, in
C minor, by Johanu Sebastian Bach, written
in "Weimar between 1717 and 1723. Its
form, a dance-form, consisting of a short
theme on a ground bass elaborated with
contrapuntal devices, was a favourite one
with the organ and harjisichord composers
of the 17th and 18th centuries. The work
was published by the Bachgesellschaft,
year xv., Orgelwerke, vol. i. The first cho-
rus of the cantata, "Weinen, Klagen, Sorgen,
Zageu (Bachgesellschaft, year ii., Kirchen-
cantateu, ii.. No. 12), contains a passacaglia
the theme of which is again used in the
cantata, Jesu, der du meine Seele (Bach-
gesellschaft, year xviii., voL viii., No. 78).
Other noted jjassacaglias are by Buxtehude,
Frescobaldi (Toccate d' Intavolatura, vol.
i.), and by Handel (Suite vii. and Sonata
iv. of Vn. Sonatas or Trios). There are
also passacagUas in Gluck's operas, and
some cui-ious examples in Salvatore Maz-
zella's "Balli, Correnti, Gighe, Gavotte,
Brande, e Gagliarde, con la misura giusta
per ballare al stile Inglese " (Rome, 1689).
— Spitta, Bach, i. 276 ; ii. 234, 650 ; Spitta,
Bach (Bell), i. 279 ; ii. 405 ; iii. 170 ; Grove,
ii. 661 ; Schcelcher, Handel, 174.
PASSARINI (Passerini), Padre FRAN-
CESCO, born at Bologna dui-ing the fii-st
half of the 17th century, died there in 1698.
Church comi^oser, Franciscan friar, was aji-
pointed maestro di cappella in the convent
ao
PASSION
of his order in 1657, ami resumed that posi-
tion after having fulfilled the same functions
at Viterbo in 1674:-S0. Works : Salmi con-
certati a 3-G voci con violini, etc. (Bologna,
1G71) ; Antifone della Beata Vergine a voce
sola (ib., 1C71) ; Compieta concertata a 5
voci, con violini obligati (ilx, 1072) ; Misse
brevi a otto voci col' organo (ib., 1G90).
— Potis.
PASSION, German oratorio, text from
Barthold Hermann Brockes'a poem, "Der
fiir die Siindcu der Welt gemartete und
sterbende Jesus," music by Handel, first
performed in Hamburg in 1717. This,
Handel's onlj' German oratorio, was written
during his visit to Hamburg with George L
It is different in treatment from his other
oratorios and shows the influence of Keiser
and Steffani. Characters represented : Ma-
ria, Drei Mi'igde, Tochter Zion, and Gli'iu-
bige Seele (S.) ; Judas, Johannes, Jacobus,
Kriegesknecht, and Glaubige Seele (A.) ;
Evangelist, Petrus, and Glaubige Seele (T.) ;
Jesus, Caiphas, Pilatus, Hauptmann, and
Glaubige Seele (B.) ; and chorus. The work
contains a sinfonia, arias, recitatives, and
choruses. The duet between Maria and
Jesus, " Soil mein Kind, meiu Leben ster-
ben, Ja ich sterbe dir zu gut," was worked
over for the duet in Eather, " Who calls my
parting soul from death. Awake my soul, my
life, my breath," and the Daughter of Zion's
aria. Die ihr Gottes Gnad' versaiimet, was
again used in the air, "In Jehovah's awfid
sight," in Ikhoruh. The originalMS. islost,
but several autograph transcriptions are ex-
tant, two in Buckingham Palace, two in the
Royal Library, Berlin ; and one, partly in
Johann Sebastian Bach's handwriting. It
was first published by the Hilndelgesell-
schaft, Chrysander's edition, Breitkopf &
Hiirtel (Leipsic, 1863). The same poem
was set by Eheinhard, Keiser, Hamburg,
170J:; by Gottfried HeinrichStoelzel, Prague,
1715 ; by Telemann, Hamburg, 1716 ; and
by Mattheson, ib., 1718. Handel wrote also
a Passion cantata, in two parts, on Postel's
version of the Passion according to Saint
John, Hamburg, 1704. The autograph in
the Konigliche Bibliothek, Berlin, was ed-
ited by Chrysander and published by the
Hiindelgesellschaft, Breitkopf & Hiirtel
(Leipsic, 18G0).— Chrysander, Handel, i.
88-102, 427-449 ; Rockstro, 32, 101 ; Schoil-
cher, 45 ; Maitland, GO ; Wiuterfeld, Der
evangeliche Kirchengesang, iii. 128, 164,
179, 195 ; Athenffium (1872), i. 215.
PASSION — nach dem Evangelisten Mat-
tliilus, in two parts, text selected from the
Bible, St. Matthew, chapters sxvi. and
xsvii., by Picander (Christian Friedrich
Henrici) and J. S. Bach, music by Johann
Sebastian Bach, first performed at St.
Thomas's Church, Leipsic, Good Friday,
April 15, 1729. This surpasses all other
works on the same theme. The text, con-
tained in Picander 's " Scherzhaffte und sa-
tyrische Gedichto " (vol. ii., 101), is writ-
ten partly in the dramatic and partly in
the epic form. An Evangelist, the prin-
cipal tenor, relates certain events ; but
Christus, Petrus, Pilatus, and other persons
speak in the words assigned to them in the
Bible. The arias and choi-uses, called Soli-
loquire at the time of their composition,
are meditations and exj^ressions of sorrow
ujion the events acted and narrated. The
double choruses of fanatical Jews, or loviusr
disciples, in the dramatic form, are in intri-
cate part-writing. The congregation was
expected to join in the chorals, repre-
senting the voice of the entire Christian
Church, and the sermon was delivered be-
tween the parts of the oratorio. Part I.
treats of the conspiracy of the High Priests
and Scribes ; the anointing of Christ ; the
institution of the Lord's Supper ; the praj'er
on the Mount of Olives ; and the betrayal
by Judas. Part II., of the hearing before
Caiajjlias ; Peter's denial ; Pontius Pilate's
judgment ; Judas's death ; the progress to
Golgotha ; and the crucifixion, death, and
burial of Christ. The music is written for
two choruses, each with its separate or-
chestra and organ accomjianiment, but in
the less dramatic numbers and chorals they
PASSION
are combined into ouo clioir. The open-
ing double chorus, " Kommt ibr Tijchter,
helft mir Klagen," sung by the Daughters
of Zion and believers, has the addition of
a third choir, Soprano ripieuo, which sings
the choral melody, " O Lamm Gottes un-
schuldig," one of the finest numbers in the
work. All of the solos by biblical persons,
excepting the false witnesses, are supported
b}' the first chorus. The Evangelist and
other sjieakers sing in recitativo secco,
and Jesus is accompanied by the strings.
Among the fourteen chorals the one, " 0
Haujjt voll Blut und Wunden," occiu-s five
times, each time with new words and har-
mony. The work was revised by Bach and
extended into its present form and given
about 1740-41. The original score is in the
Kijnigliche Bibliothek, Berlin, which also
possesses a cojiy in Bach's autograph. An-
other coj)y is owned by the Berlin Singaka-
demie, and one, in Kiriiberger's writing, is
in the Joachimsthal Gymnasium, Berlin.
The oratoi'io was revived by Mendelssohn,
and first given under his direction by the
Singiikademie, Berlin, March 11, 21, and
24, 1829. The solo singers were Herr
Stumer, the Evangelist ; Herr Devrient,
Christ ; Herr Bader, Herr Busolt, Mme
^Milder, Mme Tiirrschmidt, Frl. Blanc, and
Frl. von Schiitzel. This work was first given
in Brcslau, April 3, 1829 ; in Dresden,
Ajnil 3, 1833 ; selections in Paris, Jan. 12,
1840 ; in Vienna, 1802 ; in London, by the
Bach Society, under W. S. Bennett's direc-
tion, April 6, 1854 ; in St Martin's Hall,
March 23, 1858 ; at St. James's Hall, Feb.
15, 1871 ; at Westminster Abbey, April 13,
1871, and IMarch 28, 1872 ; and it is fre-
quently given during Passion week, and at
the musicial festivals in England. It was
first giv(ai in America by the Handel and
Haydn Society, Boston, May 8, 1874 ; and
by tlie Oratorio Society, New York, March
18, 1880. Published by Schlesinger (Ber-
lin, 1829) ; French translation by Maurice
Bourgcs, ib. (Paris, 1844) ; by Trautwein
(Beriin, 1829) ; by the Bachgesellschaft
(year iv.), edited by Julius Rietz and re-
vised by W. llust, by Breitkopf <fc Hiirtel
(Leijisic, 1854) ; by Novcllo, with an intro-
duction by Macfarren (London) ; edition by
Julius Stern, by Peters (Leipsic, 18G0-G7) ;
and with additional accompaniments by
Robert Franz, by Breitkopf & Hiirtel (Leip-
sic, 1860-67) ; and by Leuckart (Leipsic,
1860-67).
Bach left five settings of the Passion, the
most important of which, next to the ]Mat-
thiius, is the Passion uach dcm EvangeUsten
Johannes, in two parts, first performed at
St. Nicholas's Church, Leipsic, Good Friday,
April 7, 1724. This is supjiosed to have
been written at Cothen in 1723. The text
was selected from the Bible by Bach, who
adopted some verses of Brockes's Passion
poem for the arias. It is written for a
single chorus with orchestra and organ ac-
comjianiment. Several of the chorals set
to Stockmann's hymn, "Jesu Leiden, Pein
und Tod," are in Bach's most exquisite
style, and the arias are among the finest that
he ever wrote. The work originally opened
with the chonis, " O Mensch bewcin dein
Siinde gross," wlucli Bach afterwards cutout,
transposed from E-flat to E, and inserted
into the Matthew Passion, when he revised
it in 1740, and it closed with a choral
chorus, " Christe du Lamm Gottes," now
the last number of the cantata, Du wahrer
Gott. It treats of the betrayal of Jesus
by Judas ; Peter's denial ; the scene with
Pilate ; the cries of the Jews for the cruci-
fixion ; the division of the garments ; the
agony of the cross ; and a final Requiem.
This work was first given in Berlin, March
21, 1833 ; in London, under Mr. Barnby,
March 22, 1872. The oldest copy of the
original score is lost, but one of Bach's
later copies is in the Konigliche Bibliothek,
Berlin. This was edited by W. Rust for
the Bachgesellschaft (year xii.), and jjub-
lished by Breitkopf & Hiirtel (Leipsic,
1862).
Between the writing of the first and sec-
ond parts of the St. John Passion, Bach is
PASSION
snp250sed to have composed another Passion
oratorio on a text by Picander, written for
Good Friday, 1725. The music is lost but
the test remains. The Bible narrative is
recited by an Evangelist, and the characters
represented are Christ, Peter, John, and
Mary. There are no dramatic choruses,
and only two chorals are introduced.
The Passion nach dem Evangelisten Lucas
is supposed by some authorities to be the
earliest of Bach's comi^ositions on this theme.
It is thought to have beeu written for Good
Friday, 1733, but the King Elector of Sax-
ony died in that year and there was a gen-
eral mourning. It is supposed that Bach set
the work aside, finished it in 173i, and gave
it at St. Thomas's Church on Good Friday
of that year. There are only eight lyric
numbers, but there are thirty-one chorals,
among which Johann Flittner's hynin, " Je-
su meines Herzeus Freudo," occurs many
times. The authenticity of this work is,
however, more than doubtful, and m'any
excellent authorities, among them Men-
by three Deacons, but in 1585 Vittoria made
a polyphonic setting of words uttered by
the crowd, Turbfs, which, intermingled with
the chants of the Deacons, were so effec-
tive that they were continued in use. Pub-
lished by Gardano (Rome, 1585). Portions
of this were published by R. Butler (Lon-
don). Francesco Suriano also made a po-
lyphonic setting for four voices of these
words, his last work (Rome, 1G19), included
in Proske's " Musica Divina " (vol. iv.). The
old church form of the Passion contained a
dramatic germ which developed into the
jMystery and Miracle plays, originally per-
formed in the churches, and some valuable
sf)ecimens of the music to these plays are
extant. The Passion music borrowed its
form from the contemporary sacred drama,
and the German Passion music, which
reached its climax with Bach, was devel-
oped through these old forms and the in-
fluence of the Italian oratorio into a sin-
gular compound, both simjile and intricate.
S. Gregory Naziauzen (330-390) was the
delssolm and Robert Franz, have denied it i first to arrange the history of the Passion
altogether. It has been published by H.
Durffel (Breitkopf & Hiirtel, Lcipsic and
Brussels, 1887). See Prieger, Echt oder
unccht? (Berhu, 1889).
The Passion nach dem Evangelisten Mar-
cus, in two jiarts, was first given in St.
Thomas's Church, Leii^sic, on Good Friday,
1731. The text, which is by Picander, is
thought to have been adapted to the music,
written originally for the Traue7--0de on
the Electress of Saxony (1727). Five lyric
pieces are preserved in this ode (Bachge-
scUschaft, year xiii.).
The earliest known Cantus Passionis is
a solemn Plain Chaunt Melod}', which was
handed down by tradition, a version of
which was published at the instance of
Pope Sixtus v., by Giudetti, under the title,
"Cantus ecclesiasticus Passionis Domini
nostri Jesu Christi secundum Matthfeum,
Marcum, Lucam, et Johanncm " (Rome,
1586). From the beginning of the 13th
century until the IGth the Passion was sung
in a dramatic form. In the IGth century
the German text came into general use.
The principal settings arc by Jakob Obrecht,
1538, in Georg Rhau's collection, " Harmo-
nire selecfro quatuor vocum de Passione
Domini " (Wittenberg, 1538) ; Orlando di
Lasso, for five voices (Patrocinimn Musices,
vol. iv., Munich, 1575) ; Jakob Reiner (1559-
(?) IGOG), three Passions (Proske's Library) ;
Johann Walther, St. Matthew and St. John,
1530, fi'om the four Gospels, in German,
1552 ; Balthasar Resinarius, 1541 ; a MS.
in the Royal Library, Vienna, Meissen,
1559 ; Antonius Scadellus, about 15G0 ;
Clemens Stephani, text by Buchau, Nurem-
berg, 1570 ; Ludwig Daser, Munich, 1578 ;
Jakob Gallus, copy in Kr)nigsberg, 1587 ;
Bartholomiins Gese, 1588, published in F.
Commer's "Musica Sacra," voL vi. (Berlin) ;
Three Passions after Matthaus in Matt.
Ludecus's Vesperale e Mattutinale, 1589 ;
Johann Machold, Erfurt, 1593, MS. in Kr.-
nigsberg ; Melchoir Vulpius, 1C13 ; Th.
93
PASSION
Mancimis, 1620, reprinted in Sehuberlein's ]
Scliatz des liturgischen Chor imd Gemein-
degesangs, part ii., 362 ; Christoph Deman-
tius, Freiburg, 1631, copy of MS. in Pirna ;
Christoph Schultz, Leipsic, 1653 ; Heinrich
Schiitz, Siebeu Worte des Erlosers am
Kreuz, 16-15, published by Riedel (Leipsic,
1870) ; Historia des Leidens und Sterbcns
unsers Herrn und Heilandes lesu Christi
(1665-66) ; Giovanni Sebastiani, KOnigs-
berg, 1672, MS. in Konigsberg; Johann
Theile, Liibeck, 1673 ; Funcke, Liineburg,
1683, MS. in Liineburg; J. C. Eothe,
Sondershausen, 1697, MS. in Sonders-
hausen ; Reinhardt Keiser, test by Hunold,
Der blutige und sterbende Jesus, Ham-
burg, 1701 ; on Brockes'a text, ib., 1712 ;
Handel, text by Postel, ib., 1704 ; text
by Brockes, ib., 1716 ; The Messiah, Dublin,
1711 ; Gottfried Heinrich Stoelzel, Prague,
1715 ; Telemanu, Hamburg, 1716 ; Mar-
kus-Passion, 1725 ; Mattheson, Hamburg,
1718 ; Johann Kuhnan, Leipsic, 1721 ;
Kramer, Arnstadt, 1735 ; Karl Heinrich
Graun, Der Tod Jcsu, text by Ramber, Ber-
lin, 1756 ; by J. F. Doles, same test, Leip-
sic, 1759 ; Karl Philipp Emanuel Bach,
22 Passions ; Chi-istoph Ehrcgott Weinlig,
Leipsic, 1780 ; J. H. Rolle, 8 Passion.s,
1780 ; J. Abr. P. Schulz, Christi Tod, Co-
penhagen, 1792 ; J. G. Schicht, Die Feier
der Christen auf Golgotha and Das Ende
des Gerechten, Leipsic, 1785 ; F. Schneider,
Gethsemane und Golgotha, 1838 ; E. F.
Ricliter, Clu'istus der Eloser, Leipsic, March
8, 1819 ; and Fricdrich Kiel, Berlin, 1871.
Oratorios : Chi'isto al limbo and La morte
del giusto, by Giac. Perti, Bologna, 1698 ;
La morte di Chiisto, by Ant. Gianettini,
Vienna, 1704 ; La morte vinta sul Calvario,
by "M. Ant. Ziani, text by P. A. Bernard oni,
ib., 1706 ; and La passiono uelF orto, by
the same, ib., 1708 ; La passione di Christo,
by Attilio Ariosti, ib., 1709 ; Christo nell'
orto, by J. J. Fux, test by Pariati, ib., 1718 ;
La deposizione della croce di Gosii Christo,
by the same, ib., March 23, 1728 ; La pas-
sione di Gesti Christo, by Antonio Caldara,
text by Metastasio, ib., April 4, 1730 ; same
text by Gius. Venturelli, Modena, 1735 ; La
virtti appie deUa croce, by J. A. Hasse,
Dresden, 1737 ; I pellegrini al sepolcro, ib.,
1742 ; La deposizione della croce di Gesil
Christo, text by Pasquini, Dresden, 1744 ;
same title, by Ad. Schiirer, ib., 1755 ; by
J. Gottfried Naumann, ib , 1769 ; by Ign.
Holzbauer, Mannheim, 1773 ; La morte di
Christo, by Jos. Mysliwcczck, about 1775 ;
by Ant. Salieri, Vienna, 1776 ; by Josef
Schuster, Dresden, 1778 ; by Luc. Xavier
dos Santos, Lisbon, 1783 ; by Giovanni Pai-
siello, Warsaw, 1784, Bologna, 1790 ; G.
Andreozzi, Naples, 1792 ; S. Mayr, Forli,
1794 ; Die sieben worte des ErlOsers am
Ivreuz, Vienna, by Haydn, 1798 ; I peWe-
grini al sepolcro, J. G. Naumann, Dresden,
1798 ; by Gius. Niccolini, Naples, 1799 ; by
Dom Cercia, about 1800 ; Christus am Oel-
berge, by Beethoven, 1815 ; by F. Pacr,
about 1810 ; by Pietro Raj, Monza, 1807 ;
by Josef Weigl, text by Carpani, Vienna,
1811 ; by F. Morlacchi, Dresden, 1812 ; by
Michael Costa, Naples, 1827 ; by Josef
Eisner, Warsaw, 1844 ; and Franz Liszt,
Chnslus, Rome, 1867. — Spitta, Bach, ii.
307-400; do. (BeU), ii. 477-569; Bitter,
Bach, i. 315-423 ; Mosewius, J. S. Bachs
Matthaus - Passion musikalisch - ilsthetisch
dargestellt (Berlin, 1852) ; Wintcrfcld, Der
evangehche Kirchengesang, iii. 364 ; Bit-
ter, Gesehichte des Or.atoriums, 198 ; Poole,
Bach, 88 ; La Mara, Mus. Studienkiijjfe, iv.
104; Grove, ii. 540, 663; Allgem. mus.
Zeitg.,sssi. 234, 258, 601'; sxxiii. 265, 285,
302 ; xxsv. 257, 294, 323 ; Berliner mus.
Zeitg. 1829). 65, 73, 79, 89, 97, 121 ; (1830),
105, 153, 157 ; Neue Zeits., xiv. 99 ; xviii.
57, 61, 65, 69, 73, 77, 85 ; (1887), 374, 558 ;
Hanslick, Concertwesen in Wien, ii. 242 ;
Hensel, The Mendelssohn Family, i. 170 ;
AthenfEum (1854), 469; (1858), i. 409;
(1872), i. 409 ; Bitter, Emanuel und Fricde-
mann Bach, i. 274 ; Vierteljahrsschrift fiir
Musikwissenschaft (1888) iv. 471 ; Monats-
hefte fiir Musikgesehichte, iii. 97 ; v. 77 ;
xi. 71, 87; Ai-rey von Dommer Handbuch
94
PASSIONE
der mus. Geschichte, 243 ; Eeissmann, Ge-
scbiclate der Musik, ii. 18G3 ; Sebastian!,
Kurze Nachricbt wie die Passion, etc., ge-
sungen wird (1686), in the Koyal Library of
Konigsberg.
PASSIONE DI GESU CRISTO, LA,
oratorio in two parts, text by Metastasio,
music by Salieri, first performed by the
Tonkiiustler - SocietJit, Vienna, in 1777.
Same text, oratorio by Caldara, Vienna,
1730 ; and German translation, music by
Eberlin, at the Convent of the Benedictines,
Salzburg, 1755.
PASSIONE, LA, symphony, in F minor,
by Haydn, sujjposed to have been written
in 1773. I. Adagio ; II. Allegro di molto ;
in. Menuet; IV. Presto. Eieter-Bieder-
mann's Catalogue, No. 1. — Pohl, Haydn, ii.
265.
PASTORALE EN MUSI QUE, LA,
French opera, text by the Abbe Perrin, mu-
sic by Cambert, first rej^resented privately
at Issy, April, 1689. It was the first French
ojjera. — CK'ment et Larousse, 516.
PASTORAL SYIMPHONY. See Sinfonia
pastorale.
PASTORAL SYMPHONY, a short com-
position for strings, in Handel's Messiah,
inserted to introduce the scene of the
" Shejjherds abiding in the fields." This
air, marked Pifa in Handel's MSS. and in
Smith's transcriptions, is an ancient Cala-
brian melody which Handel heard played
by the peasants, called Pifferari, on the
Piffero (fife) in the streets of Rome during
his visit there in 1709. It was scored for
strings only, with a third violin part, which
has often been left out. When the name Pas-
toral Symphony was given to it is not known.
Wright, Randall, and Abell's edition of the
Messiah (Loudon, 1768) bears the word
Pifa ; but Arnold's earlier edition calls it
" Sinfonia Pastoralle." Dr. Rimbault, in
his edition of the Messiah for the Handel
Society of London (Loudon, 1850), gives
the origin of the air, and says it was in-
cluded in a MS. collection of hymns (1630).
Similar tunes, under the title of Partheuia,
are contained in Playford's " Musick's Hand-
maid " (1678), and in Crotch's " Specimens
of Various Styles of Music," where the air
is called a Siciliana. This title is given also
to short orchestral movements in other ora-
torios by Handel. — Rockstro, Handel, 55,
237 ; Schcelcher, Handel, 28-1 ; Grove, ii. 671.
PASTOR FIDO, IL (The Faithful Shep-
herd), Italian opera in three acts, text by
Giacomo Rossi, music by Handel, first rep-
resented at the Queen's Theatre, London,
Nov. 26, 1712. The subject was taken from
a pastoral by Battista Guarini, represented
and published in Venice in 1590. The
greater part of the original autograph has
been lost ; but fragments of the second and
third acts, and the final chorus, dated Lon-
don, Oct. 24, 1712, arc in the second vol-
ume of " Songs and Sketches " in Bucking-
ham Palace, where the conducting score,
with the exception of the overture, may be
found. Several of the airs were used again
for later ojaeras, and many oboe passages in
the aria, "Ritorna adesso Amor con la Spe-
ranza," were introduced into the overture to
Esther. Original cast :
Mirtillo (S.) Cavaliere Valeriano.
Amarilli (S.) Margarita de I'Jiipine.
Eurilla (S) La Pilotti Schiavonetti.
Silvio (A.) Signor Valentini.
Doriuda (A.) Mrs. Barbier.
Tirenio (B.) Richard Leveridge.
The opera was revived by Handel at Covent
Garden, Nov. 9, 1734. " Favourite songs
in Pastor Fido " were published by Walsh
(London, 1734). The opera was first pub-
lished by the Hiindelgesellschaft, with a res-
toration of the overture, Breitkopf & Hiirtel
(Leipsic, 1876). Other operas of the same
title : In English, by Sir Richard Faushaw,
Loudon, 1646 ; by E. Settle, ib., 1677 ; in
Italian, after Guarini, music by Luigi Pie-
tragrua, Venice, 1721 ; by Apollini, Venice,
1739; by Salieri, text by da Ponte, Vienna,
1789.— Chrysander, Hiiudel, ii. 363 ; Rock-
stro, 76 ; Schffilcher, 167 ; Ck'ment et La-
rousse, 516 ; Burney, iv. 234, 377.
95
PATIENCE
PATIENCE, ffisthetic English opera in
two acts, text by Gilbert, music by Sullivan,
first represented at the Opi'ra Comique,
Strand, London, April 25, 1881, with the
following cast :
Patience (S.) Miss Leonora Braham.
Bunthorne (T.) Mr. Grossmith.
Lady Jane (A.) Miss Alice Baruett.
Ai-chibald Grosvenor (B.) . Mi'. II. Barrington.
It is a droll satii-e on sestheticism, and was
very successful in London and in New
York, where it was first given at the Stand-
ard Theatre, Sept. 22, 1881. Published by
Cliappoll & Co. (Loudon, 1881). — Atheureum
(1881), i. GOl ; Academy (1881), i. 32C ; Pall
j\Iall Budget (April 29, 1881) ; New York
Tribune (Sept. 23, 1881).
PATRIE, overture for orchestra, by
Georges Bizet, first performed at the Con-
cert Populairo, Paris, iu 1871. This is one
of Bizet's last works, and it was given at
the composer's memorial concert, Paris,
Oct. 31, 1875. Pubhshed by Eiirstner (Ber-
hn, 1874).
PATlilE, oder die Erben des weissen
Berges (The Heirs of the White Mountain),
hymn for mixed chorus to words by Halck,
music by Dvoi-:'ik, originally published as
op. 4, reissued as op. 30 by Novello & Co.
(London). — Grove, iv. G23.
PAT HIE, French opera, text by Sardou,
nuisic by Paladilhe, first rei^resented at the
Oi)ora, Paris, Dec. IC, 18SC. It was well
received.
PATRIOTIC HYMN, by An tonin Dvorak.
See ratric.
PATTISON, JOHN NELSON, born, of
American parentage, at Niagara Falls, New
York, Oct. 22, 1815, stDl Uviug, 1890.
Pianist, early showed musical talent, and at
fifteen had some reputation as a performer ;
soon after he went to Europe, and again in
18G2, and studied in Berlin, Leij^sic, Paris,
and Loudon, and has had as teachers Liszt,
Thalberg, Henselt, and von Billow on the
pianoforte, and Haupt in harmony. Since
his second return to America he has per-
formed in more than 800 concerts in the
United States ; and has made concert tours
with Parepa Eosa,
Al-
and
Among
Miss Kellogg,
bani, Lucca,
others.
his more notable
performances
were his recitals
at the Centennial
Exhibition, Phila-
delphia ; he has
played also with
-' ■ success at the
concerts of the New York and Brooklyn
Philharmonic Societies. His works consist
of more than 200 compositions ; among
them the following : In the Forest, The
Dawn of Day, Dreamland, The Village IMill
"WTieel, Marche militaire, for the piano-
forte ; Concert overture, in A minor, for
grand orchestra, performed iu Berlin, and
by Thomas's Orchestra iu New York ; Niag-
ara, grand symphony for orchestra and mil-
itary baud ; Concerto fantaisie-romantique,
for pianoforte and orchestra.
PATTISON, THOM.iS IVIEE, bom at
Warrington, England, Jan. 27, 1815, still
living, 1890. Organist of St. Paul's church,
Wan-iugton, smce 18G9. Works : The
Happy Valley, opera ; The Ancient Mar-
iner, cantata, 1885 ; Lay of the Last Min-
strel, do., 1885 ; Anthems ; Organ and
pianoforte music.
PAUER, ERNST, born in Vienna,
21, 182G, still living,
1890. Pianist, sou of
the general superin-
tendent of the L u-
theran churches o f
Austria, and pupil
o f Theodor Dirzka,
of Wolfgang Amadeus
Mozart the younger,
and of Sechter in
Vienna, then of Franz
Lachner in Munich. He became director
of musical societies iu Maiuz iu 1847, and
Dec.
96
PAUKENSCHLAG
played in London with success in 1851. In
1852 he married the singer Miss Andrea
of Frankfort-on-the-Main, and then settled
in London. In 18G1 he began giving his-
torical recitals of pianoforte music, played
within a few years iu Holland, Leipsic,
Munich, and Vienna, and was made Aus-
trian court pianist iu 18GG. From 1870 he
lectured on the history of music in Great
Britain and Ireland ; succeeded Cipriani
Potter in the Royal Academy of Music ; in
ISTGhecame in'ofessor at the National Train-
ing School for Music at Kensington Gore ;
and in 1878 was a member of the musical
board of Cambridge University, being made
examiner the nest year. He has rendered
great service by publishing editions of clas-
sical composers. Hanslick calls him the
first pastor of German music in Loudon.
Works — Operas : Don Riego, Mannheim,
1849 ; Die rothe Maske, ib., 1850 ; Die
Brautsehau Friedrichs des Grossen, ib.,
18G1. Symphony in C minor, oj). 50 ;
Quartet, quintet, jiianoforte music, and
songs ; Arrangements of Schumann's sym-
jjhonies and Mendelssohn's pianoforte con-
certos. He edited : Alte Klavier-Musik ;
Alte Meister ; Old English Composers for
the Virginals and Harpsichord ; classical
composers, from Bach and Handel to Schu-
mann, in Augener's edition ; New Gradus
ad Parnassum, containing 100 studies,
some by himself ; Primer of the Pianoforte,
and Elements of the Beautiful in Music
(187G) ; and Primer of Musical Forms
(1878).— Grove ; Vl^irzbach ; Mendel ; Rie-
mann ; Fetis ; do., Supplement, ii. 311 ;
Hanslick, Concertwesen in "Wien, 326.
PAUIvENSCHLAG, SINFONIE MIT
DEM, iu G, by Haydn. I. Adagio cauta-
bile, vivace assai ; H. Andante ; IH. Menu-
etto ; rV. Allegro di molto. It is known
in England and America as the Sui'^srise
Symphony. Breitkopf & Hiirtel edition.
No. G ; Peters, No. 4 ; London Philhar-
monic Catalogiie, No. 3.
PAUKENWIRBEL, SINFONIE MT
DEM, in E-flat, by Haydn, supposed to
have been written in 1795. I. Adagio, Al-
legro con spirito ; H. Andante ; HI. Menu-
etto ; IV. Allegro con spirito. Breitkopf &
Hilrtel's edition. No. 1 ; Peters, No. 1 ;
London Philharmonic Catalogue, No. 8.
PAUL ET VIRGINIE, French opera in
three acts, text by Dubreuil, music by Le-
sueur, first represented at the Theatre Fey-
deau, Paris, Jan. 13, 1794 The libretto is
founded on the romance of Bernardin de
Saint-Pierre, but the story is greatly
changed. The hymn of the Indians to the
rising sun, " Divin soleil, ame du monde,"
was long sung at concerts after the opera
had been withdrawn from the stage. — Cle-
ment et Larousse, 517.
PAUL ET VIRGINIE, French opera in
three acts and seven tableaux, text by Mi-
chel Carre and Jules Barbier, music by
Victor Masse, first represented at the Ojjera
National Lyrique, Paris, Nov. 15, 187G.
The libretto is from Bernardin de Saint-
Pierre's romance. Original cast : Paul, M.
Capoul ; Virgiuie, Mile Cijcile Ritter ; Mme
de La Tour, Mme Sallard ; Marguerite, Mme
Teoni ; Meala, Mme Engally ; M. de Saiute-
Croix, M. Melchisedech ; Domingue, M.
Bouhy ; M. de La Bourdonnais, M. Bonnefoy.
This oj)era is one of Masse's best works.
It was given at Covent Garden, Loudon, in
Italian, with M. Capoul as Paul and Mile
Albaui as Virginie, June 1, 1878, and first
iu New York, March 28, 1883. The score,
dedicated to M. Capoul, was published by
Theodore Michaelis (Paris, 1878) and by
Chappell tt Co. (Loudon). Other operas of
the same title, in French : By Rudolj)he
Kreutzer, text by Favieres, Paris, Jan. 15,
1791 ; by Lesueur, text by Dubreuil, ib.,
Jan. 13, 1794 ; by Denis Robert, Port Louis,
Mauritius, Oct. 30, 187G. Iu Italian : Paolo
e Virginia, by Angelo Tarchi, Venice, 1789 ;
by Pietro Guglielmi, text by Palomba, Na-
ples, about 1790, Milan, Jan. 3, 1830 ; by
Miglioi-ucci, Milan, 1813 ; by Mario Aspa,
Rome, April 29, 1843. In Spanish : Pablo
y Virginia, by Jose Rogel, Madrid, 1861.
Paul and Virginia, English ballet, by
97
PAULUS
William Eeeve and Mazzinghi, London,
1800 ; and Paul und Virginia, German bal-
let, by Wenzel Giibricli, Berlin, about 1840.
— Glomeut et Lai-ousse, 864 ; Atbenseura
(1876), ii. 696; (1878), i. 742; Academy
(1878), i. 519.
PAULUS (St. Paul), oratorio in two parts,
text compiled from the Bible by Filrst,
Sclmbring, and Mendelssohn, music by
Mendelssohn, op. 36, first jjerformed at the
Lower Rhine Festival, Diisseldorf, May 22,
1836, under the composer's direction. It was
sung by Frau Fischer-Achten (S.) ; Friiuleiu
Grabau (A.) ; Herr Schmetzer (T.) ; and HeiT
Wersing (B.). Mendelssohn received a com-
mission to write this, his first oratorio, from
the Ciicilien-VereLn of Frankfort in 1831.
The music was begun in March, 1834, when
its composer was iu his twenty-sixth year.
The oratorio contains an overture iu A mi-
nor, and forty-five numbers. Its chief sub-
jects are the martyrdom of Saint Stephen,
the conversion of Saint Paul, and the latter's
subsequent career. The choral inserted
on the death of Stephen was by Georg
Neumark, who also wrote the original
words. After the first perfoi-mance Men-
delssohn revised the work, cutting out
fourteen numbers, and it was again given
at Liverpool, under Sir George Smart's
direction, Oct. 3, 1836. It was first per-
formed in London by the Sacred Harmonic
Society, March 7 and Sept. 12, 1837 ; at
the Birmingham (England) Festival, under
Mendelssohn, Sept. 20, 1837 ; in Leipsic,
March 16, 1837 ; in Berhn, Oct. 6, 1837 ;
in Dresden, Dec. 8, 1837 ; in Vienna, March
1, 1839 ; and in Paris, March 19, 1847. It
was first sung in New York by the Sacred
Harmonic Society, Oct. 29, 1838, and by
the Oratorio Society, Nov. 9, 1875, and first
by the Handel and Haydn Society, Bos-
ton, Jan. 22, 1843. Published by Simrock
(Bonn, 1837) ; by Breitkopf & Hiirtel (Leip-
sic, 1837) ; and by Novello, English trans-
lation by W. Ball. An oratorio in Italian,
San Paolo in Ateue, text by Pasquini, music
by Bouno, was given in Vienna iu 1740.
— Lampadius, Mendelssohn, 47 ; Reiss-
mann, 173 ; Rockstro, 61 ; Hensel, The
Mendelssohn Family, ii. 331 ; Goethe and
Mendelssohn, 189 ; Hand, Aesthetic der
Toukunst, ii. 576 ; Schumann, Gesammelte
Schriften, ii. 68 ; Bitter, Geschichte des Ora-
toriums, 5-22 ; Neue Zeitschr., vii. 75, 147 ;
X. 87; xiii. 150; Cacilia, xix. 201 ; xx. 135;
Allgem. mus. Zeitg., xxxviii. 410, 807 ; xxxix.
209, 497, 513, 534, 705, 821 ; xli. 250 ; xliv.
380 ; Grove, ii. 271, 555, 675 ; Atheuieum
(1837), 708 ; (1871), i. 310 ; (1S72), ii. 817 ;
Chorley, Modern German Music, i. 22 ; Up-
ton, Standard Oratorios, 208 ; Clement et
Larousse, 518.
PAUSCH, EUGEN, born at Neumarkt,
Bavaria, in 1758, died there after 1838.
Church composer, instructed in music while
a choir-boy in the church at Neuburg ; en-
tered in 1777 the Cistercian Order at "Wal-
derbach, where he taught music and con-
ducted the choir. After the suspension of
the abbeys in Bavaria, he was for a short
time director of the seminary at Amberg ;
theu returned to his native town. Works :
6 masses, 7 motets, and 1 Requiem, for 4
voices, 2 violins, 2 horns, organ, and bass
(Dillingen, 1790) ; Te Deum, for 4 voices,
organ, and orchestra (Augsburg, 1791) ;
Psalmi vespertini, etc. (ib., 1792) ; 6 missse
breves, solemnes tamen, etc., op. 4 ; Misste
breves ac solemnes, etc., op. 5. In manu-
script : 12 operettas, and other music. — Fe-
tis ; Schilling.
PAm'RE DA:ME i\LARGUERITE. See
Dame blanche.
PAm\-ELS, JEAN ENGELBERT, born
in Brussels, Nov. 26, 1768, died there, June
3, 1804. Violinist, pupil of van Malder,
and in harmony of Witzthumb, then in
Paris of Lesueur in composition. He ob-
tained a position at the Italian ojsera, but
in 1790 went to Strasburg, where he was
chef d'orchestre at the theatre. In 1791 he
returned to Binissels, appeared with success
as a virtuoso in a concerto of his own com-
position, and became solo violinist at the
theatre, and iu 1794 maitre de chapelle.
PAVESI
111 1799 he established permanent concerts,
the technical perfection of which contrib-
uted much to the advancement of music
in Belgium. Works — Oj)eras ; La mai-
sonette dans les bois, L'auteur malgre lui,
Lcoutine et Fonrose, aU given at Brussels,
about 1791-1800 ; Concerto for violin and
orchestra ; do. for horn and orchestra ; 3
quartets for strings ; 6 duos for violins ;
3 polonaises for soprano and orchestra ;
L'amitie, duet for soprano and tenor, with
orchestra. In manuscript : Symj)honies,
concertos for violin, masses, etc. — Fetis ;
Mendel ; Kiemanu.
PAVESI, STEFANO, born at Casaletto
Vaprio, near Cremona, Jan. 22, 1779, died
at Crema, July 28, 1850. Dramatic com-
poser ; studied at the Conservatorio dei
Turchini, Naples, until the Revolution of
1799, when he was imprisoned and finally
sent to Marseilles ; thence he went to Di-
jon and joined a regimental band, with
which he returned to Italy for the Marengo
campaign. He seized the Ofiportunity of
returning to Venice, where he began in
1802 writing for the theatre, and was soon
engaged as composer by all the leading
theatres in Italy. He wrote most of his
ojjeras for Venice, where he lived chieflj',
although he was appointed maestro di cap-
pella at Cremona in 1818, to succeed Gaz-
zaniga. "Works : L' avvertimento ai gelosi,
L' anonimo, Venice, 1803 ; I castelli in
aria, Verona, ISOi ; L' accortezza materna,
L'amor coutrastato, Venice, 1801 ; L' amo-
re prodotto dall' odio, Padua, 1801: ; Fingallo
e Comala, Amare e nou voler esser amante,
Venice, 1805 ; II trionfo d' EmQio, Mi-
lan, 1805 ; II giuocatore, Erminia o la Ves-
tale, Rome, 1806 ; Napoleoue il Grande al
tempio deir immortalita, cantata. La sor-
presa, L' amor vince 1' inganno, Venice,
1806 ; Sapersi sciegliere uu degno sposo,
L' alloggio militare, ib., 1807 ; I baccanali,
Leghorn, 1807 ; La festa della rosa, L' amor
perfetto, I Cherusci, Venice, 1808 ; L' Ai-is-
todemo, Naples, 1808 ; II servo padrone, B
maldiceute, Bologna, 1809 ; Le Amazzoni,
Bergamo, 1809 ; II Corradino, Venice,
1810 ; Elisabetta, regina d' lughilterra,
Turin, 1810 ; Trajano in Dacia, Milan, L'or-
fanella di Ginevi-a, ossia Ai-minia, 1810 ; II
Giobbe, oratorio, Bologna, 1810 ; Ser Marc'
Antonio, La contadina abruzzese, II monas-
tero, Milan, 1811 ; La Nitteti, Turin, 1812 ;
Tancredi, Milan, 1812 ; Amore e generosita,
L' ostregario, II Teodoro, Venice, 1812 ; La
forza dei simpatici, Una gioruata pericolosa,
ib., 1813 ; Ii'ene e Filandro, Naples, 1813 ;
L' Agatina, Milan, 1814 ; La Celanira, Ven-
ice, 1815 ; La fiera di Brindisi, Modena,
1815 ; Le Danaide romane, Venice, 1816 ;
La gioventii di Cesare, Milan, 1817 ; II ti-
ranno geloso, Venice, 1818 ; I jiitocchi for-
tunati, Venice, 1819 ; II trionfo di Gedeone,
oratorio, Modena, 1819 ; Don Gusmano, ib.,
1819 ; B gran naso, Najjles, 1820 ; Eugenia
degli Astolfi, Naples, 1820 ; L' Arminio o
r eroe germano, Venice, 1821 ; L' Andro-
macca, Milan, 1822 ; L' Lies d' Almeida,
Anco Marcio, Naples, 1822 ; L' Egilda di
Proveuza, Venice, 1823 ; I cavalieri del
nodo, Naples, 1823 ; Andano e Dartulla, ib.,
1825 ; B solitario ed Elvida, Naples, 182G ;
Antigono e Lauso, Milan, 1827 ; La donna
bianca d' Avenello, ib., 1830 ; Feuella o la
muta di Portici, Venice, 1831 ; L' incognito ;
La fiera ; La gloria, cantata. He published
also a quantity of church music and, with
Gazzaniga, a collection entitled : Salmi, Can-
tici ed Inni Cristiani del Conte L. Tadini,
posti in musica populare (Milan). — Sanse-
verino, Biog. di Stefano Pavesi (Jlilan, 1851) ;
Fetis ; do.. Supplement, ii. 312 ; Mendel ;
Schilling.
PA VILLON DES FLEUES LE, ou les
pecheura de Grenade, comedie-lj'rique in
one act, test by E. C. Guilbert de Pixero-
court, music by Dalayrac, first represented
at the Opera Comique, Paris, May 13, 1822.
It was a posthumous arrangement of the
Pavilion duCalife, ou Almanzoret Zobeide,
opera in two acts, text by Descliamj)a and
Morel, music by Dalayrac, first given at the
Opera, Paris, April 11, 1804.— Clement et
Larousse, 519.
687351
PATER
PAYER, HIERONTlVrDS, born at Meid-
ling, near Vienna, Feb. 15, 1787, died at
Wieburg, near Vienna, September, 1845.
Dramatic and church comijoser, instructed
bj' his father, otherwise self-taught ; was at
first organist in his native village, went to
Vienna in 181G to teach music, and was
made Kapellmeister at the Theater an der
Wien. In 1818 he made a concert tour
through Germany, accepted a call to Amster-
dam as Kapelmeester in 1824, but went to
Paris in 1825, and for eight years was much
sought as a pianoforte and singing teacher,
also conducted the German opera, founded
there during the last year of his sojourn.
In 1832 he retui'ned to Vienna, and became
Kapellmeister at the new oijeraiu the Josef-
stadt Theater. A stroke of paralysis in
1838 reduced his resources to the income
from his lessons, which left him in naiTow
circumstances during the remainder of his
life. Works — Operas : Hochlands Fiirsten,
given at Amsterdam ; La folle de Glaris,
Paris, Odeou ; La croix de feu, ib. Op-
erettas : Der wildc Jiiger ; Der hohle Baum ;
Das Sternenmiidchen ; Die musikalische
Akademie ; Die Trauer ; Die Einsame ;
Coco, vaudeville. Six masses ; motets, gi'ad-
uals, Tautum ergo, etc. ; 3 concertos for
pianoforte ; Octet for do., flute, 2 horns,
and strings ; Quintet for do., flute, and
strings ; Trio for do. and strings ; Many
overtures, marches, rondos, etc., for mili-
tary baud ; Serenades for flute and guitar
concertante ; do. for mandolin and guitar ;
Many waltzes, minuets, and other dances ;
Organ and ^^ianoforte music, etc. — Allgem.
wiener mus. Zeitg. (1846), Nos. 5 and 6 ; do.,
384 ; Fetis ; SchilUng ; Seyfried, Denk-
steine, etc. (Vienna, 1848), 95 ; "Wurzbach.
PAZZA PER AIMORE, LA. See Nina.
PEACE, ALBERT LISTER, born at
Huddersfleld, England, in 1845, still living,
1890. Organist and church composer. He
was appointed organist of the parish church
of Holmfirth in 1854, when only nine yeai-s
old, and subsequently held a similar posi-
tion in other churches iu that neighbour-
hood. He settled in Glasgow in 186G as
organist of Trinity Congregational Church,
,. ~ and soon after became
organist of the Univer-
sity : organist at St.
Andrew's Hall, 1877 ;
do., Glasgow Cathe-
dral, 1879. Mus. Bac,
Oxford, 1870; Mus.
Doc, ib., 1875.
"Works: Psalm
cxxxviii., 1870 ; The
Narrative of St. John the Baptist, cantata,
1875. Morning, Communion, and Evening
Services ; Anthems ; Organ arrangements,
etc. — Grove.
PE.ARCE, STEPHEN AUSTEN, born
near Loudon,
England, Nov.
7, 1836, still
living, 1890.
Organist, pupil
at Cambridge
of John Larkiu
Hopkins. In
1859 he was '■
graduated at
New College,
Oxford Univer-
sity, as Mus.
Bac, and iu 1864 as Mus. Doc. During
the same year he visited America, and
on his return to England became org.in-
ist and musical director at St. Katharine's
Royal CoUegiate Church, Loudon, and
later of St. John's Church. In 1872 he
again went to America, where he has
since remained. He has been instructor
of vocal music in Columbia College, New
York, and has lectured on harmony and the
science of music at the General Theological
Seminary ; on the music of all nations at the
Peabody Institute, Baltimore ; and on clas-
sical music at Johns Hopkins University.
In 1874 he became musical editor of the
New York " Eve&ing Post," and he has con-
tributed many articles on music to periodi-
cals. He has been organist of several
'- \ ' ..y
100
PEAESALL
churches in New York, among them, in
1870-85, of the Collegiate Church, 48th
Street and Fifth Avenue, in 1885-88 of Ziou
Church, and now (1890) of the Church of
the Ascension. Works : La belle Ameri-
caiue, opera in three acts ; Allegro agitato
in D minor, for orchestra ; Overture in E
minor, for orchestra, written for the Crystal
Palace Classical Concerts, London ; The
Psalm of Praise, an ecclesiastical cantata ;
Celestial Visions, dramatic oratorio for
eight-part chorus, soli, full orchestra, and
organ ; Pianoforte music ; Church choral
music ; Organ music ; Songs. He is author
also of a pocket Dictionary of Musical
Terms in twenty-one languages.
PEAESALL, EGBERT LUCAS, born at
Clifton, England, March 14, 1795, died at
Wartensee, on Lake Constance, Aug. 5,
1S5G. Vocal composer ; was educated for
the bar but left it in 1825 and went to live
in Mainz, where he became the jsuijil of
Panny in composition. He revisited Eng-
land in 1829, then settled in Carlsruhe in
1830, and at Wartensee in 1832. Works :
Requiem ; Madrigals for 4, 5, G, and 8
voices (Loudon, 1840) ; 8 Glees and madri-
gals (ib., 18G3) ; 24 Choral Songs, edited
by J. Hullah (ib., 1SG3) ; Ballet Opera
Choruses (ib., 1878) ; Psalms and Anthems ;
Part-songs, among them : "Thehardy Norse-
m.au's house of yore," "A king there was
in Thule," " O who will o'er the downs so
free?," and "Sir Patrick Spens." He pub-
lished also Catholisches Gesangbuch (18G3),
founded on that of St. Gall, which is still
in use, though mostly in MS. — Grove ; Fe-
tis. Supplement, ii. 313.
PEARSON (Peerson, Pierson), MARTIN,
born in latter half of IGth century, died in
Loudon in 1G50. Vocal composer, master
of the children in St. Paul's Cathedral in
1G03 ; Mus. Bac, Oxford, 1G13. He was one
of the contributors to Leighton's "Teares
or Lamentacions," etc. (1614). Works : Pri-
vate ]\Iusicke, or the First Booke of Ayres
and Dialogues, containing Sougs of 4, 5,
and 6 Parts of severall sorts, etc. (1G04) ;
Mottects or Grave Church Musique, etc.,
with organ part, which for want of Organs
can be performed on Virginals, Base Lute,
BandoraorIi-ishHarpe(1630) ; also a Mourn-
ing Song of sixe parts. — Grove ; Fetis.
PEASE, ALFRED HUMPHREYS, born
in Cleveland, Ohio,
May G, 1838, died in
St. Louis, Missouri,
July 13, 1882. Pian-
ist, educated at Ken-
yon College, Ohio ;
studied the pianoforte
in Berlin under Theo-
dor KuUak and von
Billow, composition
under Richard Wiier.st,
and scoring under Wieprecht. After three
years he made a short visit to the United
States, and returned to Germany for three
years' further study. On his final return he
made extended concert tours, playing with
success in most of the important cities
and towns. Works : Reverie and Andante,
Andante and Scherzo, Eomanze, Concerto
(1875), all for orchestra, given with success
by Theodore Thomas ; Manj' pianoforte
compositions, arrangements, etc. ; Songs.
PECHATSCHEK (Pechaczec, Pechaeek),
FEANTISEK, the elder, born at Wilden-
schwert, Bohemia, in 17G3, died in Vienna,
Sept. 2G, 181G. Violinist, first instructed in
his native town, then at Weisswasser, Si-
lesia, j)upil of Lambert, and of Dittersdorf.
In 1783 he went to Vienna, and in 1790-
1805 was Kapellmeister at one of the thea-
tres. He was the Strauss of his time, being
especially notable as a comjjoser of dance
nmsic. Works : 2 operas ; 12 operettas ;
about 30 ballets ; Several masses and other
church music ; 12 symphonies for orches-
tra ; Overture for do.; Music for violin,
with other instruments ; Many waltzes,
Liindler, eeossaises, minuets, etc., for or-
chestra, or for pianoforte, violin, etc. — Dla-
bacz ; Fctis ; Wurzbach.
PECHATSCHEK, FRANZ, the younger,
born in Vienna, July 4, 1793, died iu Carls-
101
PECHEDES
ruhe, Sept. 15, 1840. Violin virtuoso and
composer, son and joupil of the above, after-
wards pupil of FOrster in composition ; j)er-
formed at the imperial court when only ten
years old, and in 1803 made a concert tour
with his father to Prague. For a time
second Kapellmeister at the Theater an der
Wien in Vienna, he went to Hanover in
1818 as first violinist in the court orchestra,
gave many concerts in various cities of Ger-
many in 1821-25, and was called to Carls-
ruhe, in 1826, as Conzertmeister. Works :
Concertino for violin and orchestra, op. IG ;
Polonaises for do., or pianoforte ; ThOmes
varies, do. ; Rondos, do. ; Pot-poui-ris, do. ;
Quartets for strings ; Duo concertant for 2
violins, etc. — Fetis ; Wurzbach.
PfiCHEUES DE PERLES, LES (The
Pearl Fishers), French opera in three acts
and four tableaux, text by Cormon and Mi-
chel CaiTc, music by Georges Bizet, first
represented at the Theatre Lyrique, Paris,
Sejjt. 30, 1863. The story is of Ltila, a
vestal virgin, who is stationed on a high
rock jutting out over the sea, where she
prays to the gods to protect the pearl
fishers. She is closely veiled, and no man
may approach her. Zurga and Nadii-, two
fishermen, climb the rock, and Nadir tells
his love, which is accepted by Lt'ila. They
are surjjrised, captui-ed, and condemned to
death ; but they escape through aid from
Zurga, who sets fire to the fishermen's
cabins. The music is wi-itten in the mod-
ern school, and the iusti-umentation is well
worked. Mile Luontine de Maesen, Ismacl,
and Moriui appeared in the original cast.
Published by Bote & Bock (Berlin, 1863).
— Clement et Larousse, 521.
PECHEURS, LES (The Fishermen), co-
medie in one act, text by the Mai-quis de la
Salle, music by Gossec, first represented at
the Comedie Italienne, Paris, June 7, 1760.
It was one of Gossec's most successful
works. — ClL'ment et Larousse, 520.
PEDRELL, FELIPE, born in Catalonia,
contemporary. Pianist, and dramatic com-
l)oser. Works : El ultimo Abeucerrajo, op-
era, Barcelona, 1874 ; Quasimodo, do., ib.,
1875 ; Mass for 3 voices and choruses, with
orchestra, organ, and harp ; Pianoforte mu-
sic and songs. — Fetis, Supplement, ii. 314.
PEDROTTI, CARLO, born in Verona,
Italy, Nov. 12, 1817, still living, 1890.
Dramatic composer, pupil of Domeuico Fo-
roni ; was conductor of the Italian opera
in Amsterdam in 1840-45, then lived for
several j-ears in his native city, and in
18G8 was called to Turin as du-ector of
the Liceo Musicale, maestro concertatore,
and maestro di cappella of the Teatro
Regio. In 1872 he established popular
concerts, which prospered rapidly, and
are still successful. Works : Lina, Clara
del Mainland, Verona, 1840 ; Matilde, Am-
sterdam, 1841 ; La figlia del arciere, ib.,
1844 ; Romea di Moufort, Verona, 1846 ;
Fiorina, ib., 1851 ; II parrucchiere della
reggeuza, ib., 1852 ; Gelmina, o col fuoco
non si scherza, Milan, 1853 ; Genoveffa del
Brabante, ib., 1854 ; Tutti in maschera, Ve-
rona, 1856 ; Isabella d' Arragona, Tiu-iii,
1859 ; La guerra in quattro, Milan, 1861 ;
Mazeppa, Bologna, 1861 ; Marion de Lormc,
Trieste, 1865 ; H favorito, Turin, 1870 ; Ole-
ma la schiava, Modena, 1872. — Futis, Sup-
plement, ii. 314 ; Mendel ; Riemaun.
PEELLAERT, AUGUSTIN PHILIPPE
MARIE GmSLAIN, Baron DE, born in
Bniges, March 12, 1793, died at Saint-
Josse-ten-Noode-lez-Bruxelles, April 16,
1876. Dramatic composer, jjupil at Lille
of d'Ennery, and in Paris of IMomigny and
PaOr. He entered the army, and retired
as lieutenant -colonel. Works: L'amaut
troubadour (1815), not performed ; Le sor-
cier par hasard, given at Ghent, 1819 ;
L'heure du rendez-vous, Brussels, 1821 ;
Agnes Sorel, ib., 1823 ; Le Barmecide, ib.,
1824 ; Teniers, ib., 1825 ; L'exile, ib., 1827 ;
Songe et realito (1829), not given ; Faust,
Brussels, 1834 ; Le coup de pistolet, ib.,
1836 ; Louis de Male, ib., 1838 ; Le barigel ;
Monsieur et Madame Putiphar, Brussels,
1857 ; Le manage par testament ; Regilde ;
Castor et Pollux. Operettas : Les trois clefs ;
PEER
Trois centre un ; Thucla ; Sans dot ; La si-
rcne. Several masses ; 2 trios for jJianoforte
and strings ; More than 100 vocal melodies.
— Fetis ; do., Supj)lement, ii. 315 ; Peellaert,
Cinquante ans de souvenirs (Binissels, 1867).
PEER GYNT, entr'acte music and dances
to Hendrik Ibsen's comedy of "Peer Gynt,"
by Edvard Grieg, op. 23. Published by
Peters (Leipsic, 1881). Arranged for piano-
forte for four Lands. It was first given in
New York, at Cbickering Hall, by Theo-
dore Thomas, Jan. 24, 1889.— Mus. Woch-
enblatt (1884), 511.
PELLEGRINI AL SEPOLCRO, I (The
Pilgrims at the Sepulchre), Italian ora-
torio, test by Pallavicini, music by Johann
Adolpli Hasse, first performed in Dresden
in 1742. The Pilgrim's chorus from this
oratorio was given in Berlin in November,
1844. The original score, in the KOnig-
liche Bibliothek, Berlin, was published by
J. A. Hiller, German translation by Eschen-
bach (Leipsic, 1784). Oratorio of the same
title by Johann Gottlieb Naumann, Dres-
den, 1798. — Allgem. mus. Zeitg., xxxi. 243.
PELLET, ALPHONSE, born at Uzus
(Gard), Oct. 18, 1828, still living, 1890.
Dramatic composer, first instructed by his
father, who was organist of the cathedral
at Uzes ; then pupil at the Paris Conserva-
toire of Colet and of Hah'vy. In 1849 he
settled at Nimes, where he became director
of the Conservatoire and organist of the
Basilica. Works : Les deux avares, Nimes,
18G4 ; L'ours et le j)acha, ib., 18G5 ; Salsifi,
ou les incouvenients de la grandeur, ib.,
186G ; Futaille a vendre, saynete, ib., 1868 ;
Deux locataires, ib., 1873 ; Sous les pal-
miers, ib., 1878 ; Oratorio ; About 20 can-
tatas ; Quintet for strings ; Quartet for pi-
anoforte and strings; Trio for do.; Sonata
for pianoforte and violoncello ; 2 series of
melodies for do. ; Collection of sacred mu-
sic ; Pianoforte pieces, etc. — Fetis, Supple-
ment, ii. 316.
PENA TIRANNA 10 SENTO, alto aria
of Dardano, in D minor, with accompani-
ment of oboe solo, bassoon, three violins, i
viola, and bass (senza cembalo), in Handel's
Amadigi, Act IT., Scene 5. Published also
separately, with the accompaniment tran-
scribed by Otto Dresel (Leipsic, Breitkopf
& Hiirtel).
PENDANT LA NUIT JAI PARfi MA
CHAUrafcRE. See Ame en peine.
PENDU! PENDU! See rostillon do
Longjumeau.
PENFIELD, SmTH NEWELL, born, of
American parent-
age, in Oberlin,
Ohio, April 4,
1837, still living,
1890. Organist
and pianist, piupil
in New York of
James Flint ; then
studied, in Leip-
sic, pianoforte un-
der Moscheles,
Reiuecke, Papperitz, and Plaidy, organ un-
der Richter, and harmony and theory under
Hauptmann ; later, in Paris, under Delioux.
After his return to America he resided in
Rochester, New York ; then in Savannah,
Ga., where he founded the Savannah Con-
servatory of Music, and the Mozart Club ;
later, lived for six years in Brooklyn, where
he founded the Arion Conservatory, and
since 1882 has resided in New York. In
1884 the degree of Mus. Doc. was given
him by the University of the City of New
York, and in 1885 he became president of
the Music Teachers' National Association ;
he is now organist of the Broadway Taber-
nacle Church. Works : Psalm xviii., can-
tata, for soli, chorus, and orchestra ; Over-
ture for orchestra ; String quintet ; Anthems ;
Pianoforte pieces ; Songs.
PENNA, LORENZO, born in Bologna,
Italy, in 1613, died at Imola, Oct. 20, 1693.
Church composer and didactic writer, en-
tered the Carmelite monastery at Parma,
became its maestro di cappella, and later
occupied the same position in the cathedral
at Imola. Works : Messe piene a quattro
ed otto voci se place, libro primo, op. 9 (2d
103
PENTENPJEDEE
ed., Bologna, 1677) ; Galena del sacro Par-
Dasso ; Messe piene con stromenti ad libi-
tum, libro secondo (ib., 1670) ; II sacro
Parnasso deUi Salmi festivi, etc., op. 8 ;
Salmi 1381- tutto 1' anno ed una Messa, etc.
(1669). He published also a treatise : Li
primi albori musicali per li principianti
della musica figurata, etc. (1679), and Diret-
torio del canto fermo (1689). — Fetis ; Men-
del ; Riemann.
PENTENRIEDER, FRANZ XAVER,
born at Kaufbem-en, Bavaria, Fob. 6, 1813,
died in Munich, July 17, 1867. Dramatic
and church composer, j)upil of Kalcher and
Stunz in Munich, where ho entered the
choir of the Frauenkirche. He became
court Kapellmeister, court organist, choir
director at St. Ludwig's, and Repetitor at
the royal theatre. Injuries received from
being run over by a carriage resulted hi
such serious consequences that he passed
the last years of his life in an insane asylum.
Works : Die Nacht auf Paluzzi, opera, given
on aU the principal stages of Germany ;
Das Haus ist zu verkaufen, do., Leipsic,
18i6 ; Cantatas, masses, motets, etc. — Men-
del ; Riemann.
PENTHESELEA, overture for orchestra,
in G, to lileist's drama of the same title, by
Goldmark, op. 31, first jDcrformed in Vi-
enna, Dec. 26, 1880. Published by Schott
(Mainz, Loudon, and Brussels, 1881) ; by
Leede (Leijisic). An-anged for the piano-
forte for foiu- hands. — Mus. "SVochenblatt
(1881), 92.
PEPUSCH, JOHAXX CHRISTOPH,
born in Berlin in 1667, died in London, Julj-
20, 1752. Dramatic composer, jjupil at
Stettin of Gottlieb Kliiigenberg, and of
Grosse, a Saxon organist. He was a musi-
cian at the Prussian court in 1681-97, was
in Holland in 1698, and about 1700 went to
London, where he became a member of the
orchestra at Druiy Lane. In 1707 he ad-
apted the music of Thomyi-is, Queen of
Scythia, and of other operas, adding recita-
tives and songs. He devoted much time to
the study of ancient music, and in 1710
.'?-£.
aided in establishing the Academy of An-
cient Music. In 1712 he became organist
and composer to
the Duke of Chan-
dos at Cannons,
where he preceded
Handel; in 1713
he took the degree
of Mus. Doc. at
Oxford, and soon
after became mu-
sic director of Lin-
coln's luu Theatre.
In 1724 he joined Dr. Berkeley in his scheme
of a college in the Bermudas, but was ship-
wrecked and returned to England. Soon
afterwards he married Mai-guei-ite do 1' Ejsiue
the singer, and in 1731 became organist of
the Charter House, a position he held until
his death. His wife, who brought him a
fortune of .£10,000, died in 1716. Pepusch,
though pedantic, was skilled in musical
science, and was one of the chief authorities
on music in England previous to Handel.
He is best known by his scoring and ar-
rangement of the Beggar's Opera. Works :
Venus and Adonis, masque, 1715 ; Apollo
and Dajjhne, and The Death of Dido,
masques, 1716 ; The Union of the Three Sis-
ter Ai-ts, masque for St. Ceciha's Day, 1723 ;
The Beijgar's Opera, 1727 ; Polly, opera,
1729 ; The Wedding, ballad opera, 1734 ;
Ode to the Memory of the Duke of Devon-
shire, 1707 ; Ode for the Princess of Wales's
Birthday, 1715-16 ; 6 English cantatas
(London, 1712) ; Sonatas and concertos
for strings and wind instruments ; Anthems
and motets. He published also a Short
Treatise on Harmony (London, 1730 ; 2d
ed., 1731) ; and edited Corelli's Sonatas in
score. — Grove ; Fetis ; Burney, Hist., iv.
634 ; Mendel.
PERABO, (JOHANN) ERNST, born in
Wiesbaden, Germany, Nov. 14, 1845, still
living, 1890. Pianist, the youngest of ten
children, all of whom followed the profession
of music ; began when five years old to
study under his father. In 1852 he went to
IM
PEKANDI
America with his parents, and two years
later made his first pubhc appcarnncc at a
concert in New
York. After two
years spent in
Dover, New Hamji-
shire, he studied
the viohn in Boston
under William
Schultze, andjilayed
at a concert under
Carl Zerrahn's di-
rection. He lived
next in Chicago, and then in Washington,
returning finally to New York, whence, in
1858, he went to Europe. In 18G2 he
entered the Leipsic Conservatorium, where
he studied the pianoforte under Moscheles
and E. F. Wenzel ; harmony under Pap-
peritz, Hauptmann, and Eichter ; and com-
position under Eeinecke. In 1865 he re-
turned to America, and after a concert
tour in the West settled in 18GG in Boston.
He has played often in public, and has a
high reputation as a pianist and teacher of
the pianoforte. In 1878-79 he again visited
Leipsic, to study further under Wenzel.
Many of his works are transcrijitions and
arrangements for the jjianoforte ; among
them the following : Lowe's ballads, The
Dance of Death, Melek at the Spring, The
Secluded ; First movement of Rubinstein's
Ocean Symphony, and the overture to Di-
mitri Donskoi ; First movement of Schu-
bert's unfinished sj-mj^hony ; 10 selections
from lolanthe, op. H. Among his original
compositions, mostlj- for the jaianoforte, are :
Moment musical, op. 1 ; Scherzo, op. 2 ;
Prelude, op. 3 ; Waltz, op. 4 ; Three studies,
op. 9, 1880 ; Peusees, op. 11, 1884 ; Circum-
stance, or Fate in a Human Life, op. 13,
1887 ; Songs.
PERANDI, MAECO GIUSEPPE, born in
Eome, beginning of the 17th century, died
in Dresden, Jan. 12, 1675. Church com-
poser, entered the service of the Elector of
Saxony between 1G51 and 1G56, and was
appointed Kapellmeister in 1663. Works :
Die Historia von der Geburt des Herrn und
Heilandes Jesu Christi ; Passion des Evan-
gelisten St. Marcus ; 6 masses for 5 voices,
with trumpets and drums ; 3 Magnificat for
5 and 9 voices ; 15 concertos for 3-6 voices,
with instruments ; 15 madrigals for 2-5
voices ; 3 symjihonipc. With Bontempi he
also composed a German opera, Dajibne,
given in Dresden, 1672. — ^Mendel.
PERDONO E TI COm^IANGO. See
Norma.
PEEEIEA, DOJIINGOS NUNES, bora
at Lisbon about the middle of the 17th cen-
tury, died at Camarate, near Lisbon, March
29, 1729. Church composer, for many years
mestre da capella of the cathedral at Lisbon.
Works : Responsorios da Semana Santa, for
8 voices ; Do. dos officios de defuntos, for
do. ; Li(;oens de defuntos, for 4 voices ; Con-
fitebor, Laudate jjueri, for 8 voices ; Vilhan-
cicos e motetes, for 4, 6, and 8 voices. — Vas-
concellos.
PERELLI, NATALE, born in Lombardy
about 1815. Dramatic composer, jjupil at
the Conservatorio, Milan. Works : Gale-
otto Manfredi, opera, Pavia, 1839 ; Osti et
non osti, do., Genoa, 1840 ; II coutrabban-
diere, Turin, 1842.
PEREZ, DAYIDE, born in Naples, of
Spanish parents, in 1711, died in Lisbon
in 1778. Church and dramatic comjioser,
pupil at the Conservatorio di Loreto of An-
tonio Galli on the violin, becoming a virtu-
oso on that instrument, and of Francesco
Mancini in counterpoint. He went in
1739 to Palermo as maestro di caj^jiella of
the cathedral. There he wrote his first
oj)eras, and soon acquired great reputation
in Italy ; he comjjosed for all the leading
cities, and in 1752 went to Lisbon, where,
after the great success of his Demofoonte,
the king bestowed on him the Order of
Christ, and appointed him royal mestre de
capella. In 1755 he ojiened the new theatre
in Lisbon with his Alessandro nell" Indie,
procuring for it the best singers from Italy ;
went to London in the same year, and pro-
duced his Ezio, with great success. Fetis
:05
PERFALL
ranks his compositions next to those of
Jommelli. AYorks — Operas : L' eroismo di
Scipione, Palermo, 1741 ; Astartea, Medea,
L' isola incantata (Palermo), La clemenza
di Tito, Naples, 1749 ; Semiramide, Rome,
1750; Furnace, ib.j Merope, Genoa, 1751;
Didone abbandonata, ib.; Alessandro nell'
Indie, ib. ; Zenobia, Turin, 1751; Demetrio,
ib., 1752 ; Demofoonte, ib.; Artaserse, Adri-
ano in Siria, ib., 1755 ; L' eroe cinese, ib., '
1753 ; Ipermnestra, ib., 1754 ; Olimpiade,
ib.; Ezio, London, 1755 ; Solimanno, Lis-
bon, 1757 ; Euea in Italia, 1759 ; Giulio
Cesare, 1762. A fine edition of bis Matu-
tini de' morti, his best sacred work, was
published while he was in London. Other
church music : Mass for 8 voices and or-
chestra ; do. for 5 voices and orchestra ;
Motets for 4 voices ; 2 Salve Regina for do. ;
Resjjonses for do. ; Psalms for 3 voices and
chorus. — Grove; Futis; Buruey, Hist., iv.
570 ; Mendel ; Schilling ; Gerber ; Hogarth,
Mus. Hist., i. 225.
PERF.y:,L, K.\RL, Freiherr VON, born
in Munich, Jan. 29, 1824, still living, 1890.
Dramatic composer, pupil of Hauptmauu at
Leipsic (1848) ; left the government service
in 1850, and assumed the direction of the
Miinchener Liedertafel. In 1854 he found-
ed the Oratorio Societj', which he conducted
until 18G4, when he was appointed court
music iutendant. In 1SG7 he became in-
tendant of the royal theatre, in which posi-
tion he has made the Munich opera one of
the most prominent. Works — Oj)eras: Sa-
kuntala, Munich, 1853 ; Das Konterfei, ib.,
18G3 ; Raimoudiu (also as Mclusine), ib.,
1881 ; Junker Heinz, ib., 188G ; Barbarossa,
melodrama ; Dornroschen, Milrchen for soli,
chorus, and orchestra ; Undine, do. ; Riibe-
zahl, do. — Eiemann.
PERGOLESI (Pergolese), GIOVANNI
BATTISTA, born at Jesi, Roman States,
Jan. 3, 1710, died at Pozzuoli, March IG,
1736. Dramatic composer, pupil, when
very young, at the Conservatorio dei Poveri
di Gesti Cristo, Naples, on the violin of
Domenico de Matteis. He soon attracted
notice at the conservatory by the curious
and unheard-of passages he imjirovised
while practising,
chromatic p r o -
gressions based
upon harmonic
successions being
then unknown.
Such seemed to be
his originality,
that he was placed
under Gaetano
Greco to study
counterpoint (harmony having hardly risen
to the dignity of a separate study at that
time) ; he continued his contrapuntal studies
for a while under Durante, and then under
Francesco Feo. He made rapid progress,
but soon formed a style of his own, retaining
only as much of the contrapuntal science he
had learned as could be subordinated to me-
lodious and expressive writing. His first
composition worthy of the name was an
oratorio, La couversione di San Guglielmo,
which was given (with comic interludes) at
the cloister of S. Agnello in 1731, before
Pergolesi had left the conservatorj-. After
leaving the conservatory he studied vocal
composition under Vinci, and possibly also
under Hasse. His first opera. La Sallustia,
was given in 1731, but had no more than a
succi'3 d'estime. Two other ojjcras also
failed, and starvation would probably have
been his fate had not the Prince of Stegli-
ano, first equerry to the King of Naples,
taken an active interest in him and heljied
him to get work. After a great earthquake
in Naples, a solemn mass was voted to the
patron saint of the city, and Pergolesi was
commissioned to write the music. He ac-
cordingly wrote a mass and vespers for ten-
part chorus and double orchestra, which
was soon followed by a second mass for
double chorus and two orchestras (to which
the composer afterwards added parts for
two more choruses), which was much ad-
mired by Leo. About this time Pergolesi
wrote also thirty trios for two violins, vio-
106
PERGOLESI
loncello, and bass, dedicated to the Prince
of Stegliano. In the winter of 1731 the
workl-famous La serva padrona, was writ-
ten and produced. Its success at first was
not overwhelming', but it was the only gen-
uine success Pergolesi had during his hfc-
time. Several other operas followed it, but
they were all regarded by the public as
failures. In 1734 he went to Loreto as ma-
estro di cappella. After the failure of a new
oj)era, Flaminio (1735), the Confraternity of
San Luigi di Palazzo, who had for years
been in the habit of giving Alessandro
Scarlatti's Stabat Mater on every Friday in
March, ordered a new one of Pergolesi for
ten ducats (about $8.75). He immediately
set to work, but was soon called off to Rome
to write an opera for the Teatro Tordiuone.
His fame, which was now sjsreadiug beyond
Najjles, seems to have been almost wholly
due to the high esteem in which contem-
porary musicians held his works, for the
public almost ignored them. But at Rome
L' Olimpiade failed with a crash, while Du-
ni's Neroue (a far inferior work, as its com-
poser admitted) made a resounding success.
Pergolesi returned to Loreto, in disgust
with the stage, and resumed work on the
Stabat Mater. But his health, which had
long been undermined by excesses of the
gallant sort, now gave way, and consumjj-
tion declared itself. He moved to Pozzuoli,
near Najsles, and, although really far too ill
to work, he persisted in composing a can-
tata, Orfeo e Euridice, a Salve Regina, and
in finishing the Stabat Mater, iu spite of
the urgent entreaties of his old master Feo,
who counselled rest. He died a few days
after the completion of the Stabat. He
was buried in the precincts of the Pozzuoli
Cathedral, where, a century later, the Mar-
quis de Villarosa and the Cavaliere Cori-
glano raised a monument to his memory.
His death was an almost immediate signal
for a boundless enthusiasm for his works
all over Italy, and twenty-four years later
in France. L' Olimpiade was revived at
Borne with overwhelming success. Indeed,
Pergolesi's high renown was entirely post-
humous, a fact unparalleled in the annals
of Italian music. Pergolesi is to be re-
garded as virtually the father of " modern "
music in Italj' — perhaps even in Europe.
In his music the contrapuntal element steps
for the first time definitely into the back-
ground, and the melodic-harmonic element
asserts its supremacy. The step from Leo
and Feo to Pergolesi is somewhat like that
from the younger Bachs to Gluck and
Haydn. Pergolesi's chief merits were great
pathos, sweetness, and depth of expression.
Of contrapuntal, or even melodic invention,
he did not give surjjassing evidence, but it
should be remembered that he died at the
age of twenty-six, and that there is no
calculating the splendour of development
which awaited his genius had he but lived
longer. Although in originality of concep-
tion his works pale somewhat beside the
more mature productions of other com-
posers, if we compare them with what other
great men had written before the age of
twenty-six, we shall see that the comparison
is rather in Pergolesi's favour than against
hiiu. In fact, his Serva padrona was the
model of nearly all Italian opere buffe that
followed it.
Works — I. Operas : San Guglielmo d'
Aquitania, Naples, 1731 ; La Sallustia, 3
acts, ib., 1731 ; Amor fa 1' uomo cieco, 1
act, ib., 1731 ; Recimero, 3 acts, ib., 1731 ;
La serva padrona, 2 acts, ib., Teatro San
Bartolomeo, 1731, and Paris, Theatre
Italien, Oct. 4, 1746 ; II maestro di mu-
sica, 2 acts, Najjles, 1731 ; II geloso scher-
nito, ib., 1732 ; Lo frate innamorato, in
Neapohtan dialect, ib., 1733 ; II prigio-
niero superbo, 3 acts, ib., 1733 ; Adriano iu
Siria, ib., 1734 ; Livietta e Tracolo, ossia la
contadina astuta, ib., 1734 ; Flaminio, 3 acts,
ib., 1735 ; L' Olimpiade, 3 acts, Rome, 1735.
H. Church music : Kyrie cum gloria, 4
voc, with orchestra (Vienna, Haslinger) ;
Mass, 5 voc, with orch.; do. for two 5-part
choruses and double orch.; Dixit, 4 voc,
strings, and organ ; do., double chorus and
107
PERI
orch. ; Miserere, 4 voc. and orch. (Paris,
Plejel) ; Confitebor, 4 voc. ; 2 Domine ad
adjuvaudum, 4 and 5 voc; Laudate, 5 voc.
with orcL.; Lsetatus sum, 2 soprani and 2
basses ; do., 5 voc. ; Laudate, one voice
with instruments ; Salve Regiua, one voice,
strings, and organ (Paris, Leduc and Por-
ro) ; Slahal Mater, for soprano and con-
tralto, strings, and organ (Paris, Bonjour
and Porro) ; Dies ira3, for soprano and con-
tralto, and strings ; jMass, 2 voc, and or-
gan ; do., in D, 4 voc, with orchestra ;
Oratorio sacro per la nascita del Reden-
tore.
ni. Chamber and concert music : Orfeo,
cantata for one voice and orchestra (in Cho-
ron's Principes de composition des £coles
d'ltalie) ; 5 cantatas for sopi-ano with clavi-
chord ; 30 trios for 2 violins and violoncello,
with a figured bass for harpsichord (24 of
these were published in London and Am-
sterdam); Two movements, 6 voc, from
Psalms are in the FitzwiUiam Music (Lon-
don, Novello) ; Air in F minor, for clavier,
is in Clauss-Szarvady's Klavierstiicke (Leip-
sic, Senff) ; Mass, and a Kyrie, and Gloria,
10 voc, are in MS. in the FitzwiUiam
Librai-y ; 3 jjsalms, a Stabat Mater, a Salve,
and a mass are in the British Museum, Add.
MSS., No. 5044. — ViUarosa, Lettera biogra-
fica, etc., Naples (1831) ; do., IMcmorio dei
compositori di musica del licgno di Napoli
(Naples, 1840), 141 ; Belasis, Biografia di
Pergolese ; Fctis ; Grove.
PERI, ACHILLE, born at Reggio d' Emi-
lia, Italy, Dec 20, 1812, died there, March
28, 1880. Dramatic composer ; was at first
maestro di cappella of an Italian opera
troupe at Marseilles, afterwards at the Tea-
tro Grande in his native city. Works : Una
visita a Bedlam, IMarseilles, 1839 ; II soli-
tario, Reggio, 1841 ; Dirce, ib., 1843 ; Ester
d'Engaddi, Parma, 1843 ; Taucreda, Genoa,
1848 ; I fidanzati, ib., 185G ; Vittore Pisani,
Reggio, 1857 ; Giuditta, biblical drama,
Milan, 18G0 ; L' e.spiazione, ib., 18G1 ; Or-
fano e Diavolo ; Rienzi, Milan, 1862. — Fo-
tis ; do., Supplement, ii. 321.
PERI, JACOPO, caUed II Zazzerino, born
in the latter half of the 16th century in
Florence, died (?). He studied music under
Cristoforo Malvezzi, of Lucca, and became
maestro di cappella to Fernando, Duke of
Tuscany, and later to Cosimo II. de' Me-
dici. He married a rich noblewoman of
the house of Fortini, by whom he had a
son who showed great mathematical talent,
and was jjut to study under Galileo Galilei,
but eventually ruined himself by dissipation.
This was the young man of whom Galileo
used to speak as " il mio demone." In
spite of the trouble given him, and the fre-
quent disgrace brought ui)on his household
by his son, Peri continued to move in the
highest Florentine society. He soon as-
sociated himself with Giovanni Bardi, conte
di Vernio, Vincenzo Galilei, Piero Strozzi,
Jacopo Corsi, the poet Ottavio llinucciui,
and the composer Giulio C'accini, in the
great Renaissance movement known as the
Florentine Music Reform of the 17th cen-
tury (see Ambros, iv. 147) which resulted
in the establishment of the so-called stile
rajjpresentativo, and the foundation of the
lyric drama. He followed Caccini's epoch-
making Nuove Musiche with a similar
work of his own, Le varie musiche del Si-
gnor Jacopo Peri, etc., less rigidly solemn
than Caccini's in the declamatory portions,
but also less elaborate in ornamentation.
He was the first to develop this new style
of vocal chamber music into actual dramatic
composition in his setting of Riuucciui'a
drama Dafne, which is properly accounted
the first opera, and was brought out in
private at the Palazzo Corsi in 1594 (not
1597, as given in Grove, and as stated by
Marco da Gagliano ; the work was given
during the Carnival of three successive
years, and da Gagliano probably heard only
the last performance). This was soon fol-
lowed by his setting of the same poet's
Euridice. Singularly enough. Peri did not
try to follow up these successes, perhaps
from lack of opportunity ; certainly he
wrote no more operas. He left Florence,
108
PEEKINS
for some unknown reason, and in 1601 was
appointed maestro di eappella to the Duke
of Ferrara. His latest publication was the
Varie musicbe. Works : Dafne, j^astoral
ojiera, Florence, Palazzo Corsi, 1594 (all
trace of this work is lost) ; Euridice, do.,
Florence, 1600 ; Le varie musiche del Si-
gnor Jacojjo Peri a una, due e tre voci con
alcuni spirituali in ultimo, per cantare nel
clavicembalo e chitarrone e ancora maggior
isarte di essa per sonare semplicemente
nel orgauo (Florence, Marescotti, 1609).
Three madrigals, 4 voc, are printed in
Kiesewetter's " Schicksale und Beschaf-
fenheit des weltlicheu Gesauges " (1841).
— Ambros, iv. 201, 253 et seq. ; Grove ;
Eiemaun.
PEEIONS.HENEY SOUTH WICK, born,
of American parentage, in Stockbridge, Ver-
mont, March 20, 1833, still living, 1890.
Son and j)upil of Orson Perkins (singing
master, 1802-82) ; graduated in 1861 at the
Boston Music School. In 18G7-71 he was
president of the Iowa Normal Academy of
Music, Iowa City ; in 1867-68 professor of
music in the State University of Iowa ; in
1870-74 president of the Kansas Normal
Academy of Music, Leavenworth ; in 1887-
88 president of the Illinois Music Teachers'
Association ; in 1888 secretary and treasurer
of the Music Teachers' National Association.
In 1875-76 he went to Eurojie, and studied
methods of conducting and teaching. He
is well known as a conductor of musical
conventions, festivals, and normal music
schools ; resides in Chicago. Works : Sweet
and Low, Sleep in Peace, She said she'd be
my Bride, and other quartets ; Trust her
not, quintet ; Make your Home beautiful,
Little Wanderer, My Mariner, Alone, There's
Peace on the Deep, and other songs. He
is the compiler also of several collections,
such as : The Nightingale (1860) ; Sabbath
School Trumpet (1864) ; Church Bell (1867) ;
Song Echo (1871) ; Sunnyside (1875) ; Shin-
ing River (1875) ; Palms of Victory (1880) ;
Song Wave (1882) ; Soul Songs (1885) ; and
several books of instruction.
PERKINS, WILLIAM OSCAR, born at
Stockbridge, Vermont, May 23, 1831, still
living, 1890. Son and pupil of Orson Per-
kins and brother of the preceding ; after
studying with American musicians he went
to Europe, and took lessons in singing of J.
Q. Wetherbee, London, and of G. Periui,
Milan. On his return home he devoted
himself to teaching, conducting, and com-
posing. He visited Eurojie again in 1871-
72 ; received the degree of Mus. Doc. from
Hamilton College in 1879. He has pub-
lished about forty books of compilations,
containing many of his own compositions,
such as Choral Harmony (1859) ; Perkins's
Anthem Book (1874) ; The Temple (1879) ;
Choral Choir (1882) ; The Peerless (1883),
etc. His youngest brother, Julius Edson
Perkins (1845-75), bass singer and pianist,
married in 1874 Mario Roze, who after-
wards became the wife of Henry Mapleson.
PER LE PORTE DEL TORMENTO,
duet for soprano and contralto (Elmira and
Sosarme), in E major, with accomjaauiment
of strings complete, in Handel's Sosarme,
Act n., Scene 8. Published also separately,
with the accompaniment filled out by Rob-
ert Franz (Leii^sic, Kistner).
PERLE DU BEfiSIL, LA (The Pearl of
Brazil), drame lyrique in three acts, text by
Gabriel and Sylvain Saint-Etienne, music
by Fc'licien David, first rejsresented at the
Theatre Lyrique, Paris, Nov. 22, 1851.
This was the composer's first dramatic work
The admiral Salvador has captured in Bra-
zil a young gii-1 Zora, whom he educates
and intends to marry. He sets sail with
her, and discovers that she has a lover, Lo-
renz, a young lieutenant who had disguised
himself as a sailor to accompany them. A
severe storm compels the ship to seek shel-
ter in a harbour of Brazil, where they are
attacked by the natives. Zora chants a
hymn to the Great Spirit, and, recognizing
their comjsatriot, the Brazilians make peace.
Zora is rewarded by permission fi-om the
admiral to marry Lorenz. The original
cast was : Zora, Mile Duez ; Lorenz, M.
109
PERNE
Soyer ; Admiral Salvador, M. Boucbe.
The opera was revived at the Theatre Ly-
rique, Paris, in March, 1858, with Mme
Emma Nevada.
Miolan-Carvallio, and at the Ojn'ra Coiuiquo,
1883, with Mme Emma Nevada aa Zora. —
Cli'racnt et Larousse, 524 ; Eevue et Gaz.
mus. de Piiris (1858), 83.
PERNE, FRANVOIS LOUIS, born in
Paris in 1772, died there, May 2G, 1832.
Composer and erudite writer on music ;
educated at the maitrise of Saiiit-Jacques-
de-la-Boucherie, where he studied harmony
and counterpoint under the Abbe d'Haudi-
mout. In 17!)2 he became a chorus singer
at the Opera, but in 1799 exchanged to play
the double-bass in the band. In 1811 he
succeeded Catel as professor of harmony
at the Conservatoire, in 181G became in-
spector, in 1820 librarian, and in 1822
retired to reside on an estate near Laon ;
removed to Laon in 1830, and in 1832 re-
turned to Palis. He was a profound stu-
dent of ancient music, and expended a vast
amount of labour in investigating the mu-
sic of the Greeks and of the Middle Ages.
Works : Messe de Sainte-Cecile, 1800 ; Vivat
rex, mass for four voices, 1811 ; Veni Cre-
ator, for three voices ; G sonatas for piano-
forte ; Domine, salvum fac regem, variations
for do.; 2 methods for ijianoforte ; Cours
d'harmonie et d'accompagnement (1822).
He published, also : Exposition de la Semci-
ographie, ou Notation musicale des Grecs
(Paris, 1815) ; Chansons du Chatelain de
Coucy (Paris, 1830) ; and other didactic and
historical works. — Fetis ; Mendel ; Rie-
maun.
PEEOTTI, GIOVANNI AG O ST IN 0,
born at Vercelli, April 12, 17G9, died in
Venice, June 28, 1855. Dramatic and
church composer, brother and pupil of the
following, then in Bologna pui:)il of Mattel ;
went to Vienna in 179G aa accomj)anist at
the Italian opera, and to Loudon in 1798,
in the same capacity. In 1801 he settled in
Venice, where in 1812 ho became substitute,
and in 1817 successor, to Furlanetto as ma-
estro di cappella at S. Mai'co. Works : La
coutadina nobile, given at Pisa, 1795 ; Ales-
saiidro e Timoteo, rearrangement of Sarti's
opera, London, 1800. Ballets ; Church
and chamber music. — Fetis ; Riemann.
PEROTTI, GIOVANNI DOMENICO,
born at Vercelli, Italy, in 17G0, died there
after 1820. Dramatic and church composer,
pupil of Fiorini in Milan, and of Padre Mar-
tini in Bologna ; on his return to Vercelli
he was appointed maestro di cappella at
the cathedral. Works : Zemira e Gondarte,
given at Alessandria, 1788 ; Agesilao, Rome,
1789 ; Much church music for the service
in Vercelli Cathedral. — Fetis.
PERPETUUM ilOBILE (Perpetual
^Motion), rondo in Weber's Sonata in C,
for pianoforte, op. 21, completed in Berlin,
Aug. 18, 1812, and dedicated to Madame la
Grande-Duchesse Marie Paulowna of Saxe-
Weimar. The Rondo, which is the last
movement, is dated " L'infatigable, compo-
nirt June 11th and July 15th." Published
separately as "Perpetuum Mobile," by
Schlesinger (Berlin) ; by Simrock (Bonn
JIO
PER PIETA
and Berlin) ; and by Haslinger (Vienna) ;
as " Mouvement perpctuel," by Brandus &
Dufour (Paris); as "Allegro brillant," by
Augener & Co. (London) ; as " Brilliant
Rondo," by Cba^jpell & Co. (London), and
Cramer & Co. (ib.) ; as "Moto continuo,"
by Chappell & Co. (London) ; and, " II moto
l^erpetuo," by Eicordi (Milan). The Rondo
Las been rearranged by Henselt witb mod-
ei'n difficulties, and adapted by Brahms as
a study for the left hand. Pagauini also
wrote Moto perpetuo, Allegro de concert
for the violin, op. 11. — Jahns, Weber Yer-
zeichuiss, 159 ; Benedict, Weber, 140.
PER PIETA, BELL' IDOL MIO, aria
for soprano with orchestra, in E-flat, text
from Metastasio's Artaserse, music by Mo-
zart, composed in Milan in 1770, Breitkopf
& Hiirtel, Mozart Werke, Serie vi.. No. G.
— Kuchel, Verzeichniss, No. 78.
PER PIETA, NON EICERCATE, rondo
for tenor with orchestra, in E-flat, text from
Anfossi's opera, II curioso iudiscreto, music
by Mozart, composed in Vienna, June 21,
1783. Breitkopf & Hiirtel, Mozart Werke,
Serie -vi., No 27. — Kochel, Verzeichniss, No.
420 ; Andro, No. 59.
PER QUESTA BELLA MANO, aria for
bass, with orchestra, accomj)animent and
contrabass obligato, in D, by Mozart, com-
posed for Franz Gerl in Vienna, March 8,
1791. Breitkopf & Hiirtel, Mozart Werke,
Serie vi.. No. 46. It was sung at the Lon-
don Philharmonic in 1887. — KOchel, Ver-
zeichniss, No. 612 ; Andre, No. 89 ; Jahu,
Mozart, iii. 287.
PER QUESTE TUE MANINE. See Don
Giovanni.
PERRY, EDWARD BAXTER, born, of
American parentage, in Haverhill, Massa-
chusetts, Feb. 14, 1855, still living, 1890.
Pianist ; when two years old he was made
totally blind by accident ; from his sixth to
his nineteenth year he studied the piano-
forte in Boston, and in 1875-78 studied in
Berlin, Frankfort, Stuttgart, and Weimar,
under Kullak, D. Prucknei-, and Liszt. On
his return he settled in Boston and devoted
two years to concert work, but had to aban-
don it on account of an injury to his right
wrist, and in 1881-83 was jirofessor of pi-
anoforte at Oberlin Conservatory. In 1883-
85 he was again in Europe, appeared in
concerts with success, and at Frankfort re-
ceived instruction from Clara Schumann.
Since 1885 he has been instructor in the
Tremont School of Music, Boston, and is
well known as a concert pianist in New
England and the Middle and Western
States. His works consist chiefly of com-
positions for the pianoforte, and songs.
PERRY, GEORGE, born at Norwich,
England, in 1793, died in London, March
4, 18G2. Organist, jjupil of Beekwith,
settled in London in 1822, and was at first
director of music in Haymarket Theatre and
organist of Quebec Chaj)el. In 1832-47 he
was concert-master, and in 1848 conductor,
of the Sacred Harmony Society. From
1846 he was organist of Trinity Church,
Gray's Inn Road. Works : Morning, Noon,
and Night, oj^era, 1822. Oratorios : Elijah
and the Priests of Baal, 1818 ; The Fall of
Jerusalem, 1830 ; TheDeathof Abel ; Heze-
kiah ; Belshazzar's Feast, cantata, 1836.
Overture to the Persian Hunters ; Anthems.
PERSEE, tragedie-lyrique in five acts
and prologue, text by Quinault, music by
Lully, first represented at the Acadomie
Royale de Musique, Paris, Ajn-il 17, 1G82.
It is one of the composer's best operas. The
prologue celebrates Virtue, Innocence, and
Fortune. The first act presents plaj's in
honour of Juno ; the second, the gardens
and palace of Cepheus, King of Ethiopia
and father of Andromeda, whom Perseus
resolves to deliver. He receives a shield
from Minei-va and a casque from Pluto ; in
the third act vanquishes the Gorgon, and
in the fourth rescues Andromeda. The
last act shows their marriage, and the apo-
theosis of Cej^heus, Cassiopea, Perseus,
and Andromeda. Original cast : Persee, M.
Dumesnil ; Phinee, M. Beaumavielle ; Ce-
phee, M. Dun ; Andromede, Mile Aubry ;
Merope, Mile Marthe du Rochois ; and
lU.
peesEe
Meduse, Mile Desvoyes. Thevenard sang
the part of PhiiiOe with great effect Pub-
lished by Ballard (Paris, 1682 ; 2d ed., 1722).
Same text, music by Bernard de Bui-y, Dau-
vergne, Franccour, and Rebel, Paris, 1770 ;
and Persee et Andromode, ballet by Mehul,
ib., June 8, 1810. Italian operas on the
same subject : Perseo, by Aiidrea Mattioli,
Venice, 1GG5 ; by Antonio Draghi, text b}'
Aurelio Amalteo, Vienna, 1GG9 ; Le azioni
fortunate di Perseo, by do., ib., 1G91 ; An-
dromeda, text by Bernardoni, composer un-
known, ib., Feb. 21, 1702 ; by Sacchini,
Loudon, 177-1 ; by Jouo de Sousa Carvalho,
Lisbon, 1779 ; and II ritorno di Perseo, by
Paisiello, Naples, 1792. Also an Hungarian
ballet, Perseus iind Andromeda, by George
Druzecki, Presburg, about 1790. — Clement
et Larousse, 525.
PERSEE, tragt'die-lyrique in three acts,
arranged by Miu-montel from Quinault's text,
nmsic bj' Philidor, first represented at the
Academie lloyale de Musique, Paris, Oct. 27,
1780. Oiiginal cast : Persee, M. Legi-os ;
Andromede, Mile Levasseur ; Mt'duse, Mile
Durancy ; Cassiopi^'e, j\Ille Duplant ; Phinee,
M. Larrivee ; and Mercure, M. Laine. — La-
jarte, i. 319.
PEKSIANI (Persiano), GIOSEFFO, born
at Ilecanati, Papal States, in 180-4, died in
Paris, Aug. 14, 18G9. Dramatic composer,
pupil of Tritto at the royal college of music,
Naples. About 1837 he went to Paris, and
after 1838 jiassed several j-ears in Spain.
"Works : Piglia il mondo come viene, opera
bufTa, Florence, 182G ; L' inimico generoso,
ib., 182G ; Attila, Pamia, 182G ; Danao, re
d' Argo, Florence, 1827 ; Gaston de Foix,
Venice, 1828 ; Costantino in Aries, ib., 1829 ;
Eufemio di Messina, Florence, 1829 ; II
solitario, Milan, 1829 ; I Saraceni in Cata-
nia (a new version of Eufemio di Messina),
Padua, 1832 ; Ines de Castro, Naples, 1835 ;
H fantasma, Paris, 1813 ; L' orfana savo-
jarda, Madrid, 1846.— Ft'tis.
PERSUIS, LOUIS LUC LOISEAU DE,
born at Metz, July 4, 1769, died in Paris,
Dec. 20, 1819. Dramatic composer and vio-
linist, pupil of his father, who was master
of the choristers of the cathedral. He en-
tered the orchestra of the theatre, lived in
Avignon as teacher of violin, and in 1787
went to Paris, where he produced an ora-
torio, Le passage de la mer Rouge, at the
Concerts Spirituels. He was first violinist
at the Theatre Montansier in 1790 and at
the Oj^era in 1793, chef de chant at the
Oi^era in 1804, chef d'orchestrc in 1810,
succeeding Rey ; he became also professor
of violin at the Conservatoire when it was
founded in 1795, but lost this post in 1802.
In 1814 he became inspector-general of the
Opera, and in 1817, through coui-t influ-
ence, sufierseded Choron as director. He
had meanwhile been appointed conductor
of the court concerts, and in 1810-15 was
conductor of the orchestra at the Acade-
mic. Afterwards maitre de chapelle to Louis
XVin. in 1814, succeeding Lesueur as super-
intendent of the Royal Chapel. He exhib-
ited great ability as a conductor, but his
music, though it met with considerable suc-
cess in its day, is now forgotten. Order
of St. Michael, 1819 ; Legion of Honour,
Works — Operas ; Estelle, 1783 ; La nuit
espagnole, 1791 ; Phanor et Angela, 1798 ;
Fanny Morna, 1799 ; Leonidas (with Gres-
nick)," 1799 ; Le fruit defendu, 1800 ; Mar-
cel, 1801 ; Chant de victoire en I'honneur
de Napoleon, 1806 ; L'inauguration de la
Victoire (with Lesueur), 1807 ; Le triomphe
de Trajan, 1807 ; Jerusalem delivrue, 1812 ;
Chant franyais, 1814 ; L'heureux retour
(with Berton and Kreutzer), 1815 ; Les
dieux rivaux (with Spontini), 181G. He
wrote also music for
i ballets (some in col-
iLc*,^ labo ration with
^ ^^ -^ Kreutzer) : Le retour
'^ d'Ulysse, 1807 ; Nina,
1813 ; L'epreuve villageoise, 1814 ; L'heu-
reux retour, 1815 ; Le carnaval de Venise,
1816. His church compositions in MS.
are in the Conservatoire Library. — Fetis ;
do.. Supplement, ii. 32G ; Riemanu ; Men-
del.
119
PEETI
PERTI, JACOPO ANTONIO, born in
Bologua, June 6, 1661, died there, April 10,
175G. Church composer, puijil of Padre
Petronio Franceschini. In 1680 he con-
ducted a mass of his own for solo, chorus,
and orchestra, in San Petronio, and in 1681
was made a member of the Accademia Filar-
monica, Bologna, of which he was six times
priucipe. He was maestro di cajDjDella of
San Petronio till his death. Among his
pupils were Aldovi-andini, Laureuti, Pis-
tocchi, and Torelli. He was the friend and
companion of Padre Martini. Works — Op-
eras, all given in Venice : Atide, 1679 ; Mar-
zio Coriolano, 1683 ; Flavio, 1686 ; Rosaura,
1689 ; L' incoronazioue di Dario, 1689 ;
Brenno in Efeso, 1690 ; L' ingauno sco-
perto per vendetta, 1691 ; Furio Camillo,
1692 ; Nerone fatto Cesare, 1693 ; Laodicea
e Berenice, 1695. Church works : Cantate
morali e spirituali, 1688 ; Messe e salmi
concertati, 1735. The Abbate Santini pos-
sessed a fine collection of his music. There
is an Adoramus Te by Perti in the Fitzwill-
iam Library, Cambridge, and Novello has
included two fine choruses by him in his
" Sacred Music," vol. ii. He wrote two or-
atorios, Giesu al sepolcro, and La morte di
Giesti, 1718.— Burney, Hist., iv. 51 ; Rie-
manu ; Mendel ; Schilling.
PESCETTI, GIOVANNI BATTISTA,
born in Venice in 1704, died there in 1766.
Organist, and dramatic and church com-
poser, pupil of Lotti ; was appointed in 1762
organist of the second organ in S. Marco.
He was in London in 1737^0. Works— Op-
eras : II jjrototipo, Venice, 1726 ; La canta-
trice, ib., 1727 ; Dorinda, ib., 1729 ; I tre
defensori della patria, ib., 1730 ; Narcisso al
fonte, ib., 1731 ; H vello d'oro, London, 1737 ;
Demetrio, ib., 1738 ; Alessandro nell' Indie,
Venice, 1740 ; Tullio Ostilio, 1740 ; Ezio,
1747 ; Diana ed Endimione, cantata, Lon-
don, 1739. Church music ; 9 sonatas for
pianoforte. — Fetis ; Mendel ; Schilling.
PESSARD, fiMILE LOUIS FORTUNE,
born in Paris, May 29, 1843, still living,
1890. Dramatic
composer, pupil
of Bazin and Ca-
rafa at the Con-
servatoire, where
he obtained the
second prize in
1861, and the
first in 1862 ;
grand prix de
Rome, 1866.
He is inspector of vocal music in the public
schools of Paris. Legion of Honour, 1879.
Works — Operas : La cruche cassee, given at
the Opera Comique, 1870 ; Le char, ib.,
1878 ; Le capitaine Fracasse, Theatre Ly-
rique, 1878. Solemn mass for 2 voices with
organ ; Ave Maria, with organ, violin, and
violoncello ; Mater Salvatoris ; Suite for
orchestra ; March for do. ; Quintet for
wind instruments ; Trio for pianoforte and
strings ; Pianoforte music, and songs. — Fe-
tis, Supplement, ii. 327 ; Mendel, Ergiinz.,
333.
PETER SCHMOLL UND SEINE
NACHBARN (Peter Schmoll and his Neigh-
bours), German comic opera in two acts,
text by Joseph Turks, from Carl Gottlob
Cramer's novel of the same title (Rudolstadt,
1798-99), music by W^eber, represented
at Augsburg, in March, 1803. It was writ-
ten in Salzburg, when Weber was a pupil
of Michael Haydn, who recommended this
work of the young composer. It was re-
hearsed in Salzburg in June, 1802, and was
probably first given there. The libretto is
laid in the time of the French Revolution,
and is arranged as a Singspiel with spoken
dialogue. The music as a whole is some-
what crude, but the harmonies are original
and the instrumentation novel and full of
colour, exhibiting the individuality of the
composer. He has used also several obso-
lete instruments to characterize the situa-
tions of the play. The music of Minette's
song in the first act was again used for the
113
PETERSEN
song, "Wircl Philomele trauern," in Abu
Hassan and for the last song in the finale
of the third act of Oberon. Characters rep-
resented: Peter Schmoll, Bast, and Greis
(B.) ; Oberbereiter and Niclas (T.) ; and
ilinette (S.). The original MS. is in the
iwssession of Max von Weber, and a copy
is owned by F. W. Jiihns. The opera was
not published. Weber rescored and partly
rewrote the overture in E-flat in 1807, and
it was published by Gombart (Augsburg) ;
also for jjianoforte for two and for four
hands by Schlesinger (Berlin) ; full score,
Peters (Leipsic), and by Kichault (Paris).
— Jiihns, Weber, Verzeichniss, No. 8 ; Weber,
Weber, i. 65, 73 ; Grove, iv. 410.
PETERSEN, KAKL AUGUST, born in
Hamburg, May 27, 1801, died (?). Flutist,
son and pupil of the following ; abandoned
his instrument for the violin and pianoforte,
both of which he taught in Hamburg, after
having travelled through Denmark and
Sweden. Works : Polonaise for jDianoforte,
with orchestra ; Duos for violins ; Rondo
for violin and pianoforte; Sonata for do.;
Polonaises, rondos, divertissements, etc.
— Fetis ; Mendel ; Schilling.
PETERSEN, PETER NIKOLAS, born
at Bederkesa, near Bremen, Sept. 2, 17G1,
died in Hamburg, Aug. 19, 1830. Virtuoso
on the flute, self-taught, joined a band of
travelling musicians when still a boy, and
at the age of seventeen entered a militia
regiment in Hamburg as oboe player. In
course of time he began to teach, and hav-
ing appeared in public for the first time in
1791, retained favour as the foremost flutist
of Hamburg for thirty years. He also made
important improvements in his instrument.
Works : Etudes pour la flute, 2 books ; Ada-
gio et variations pour la flute et piano ; Re-
cueil de duos pour deux flutes ; Methode
de flQte.— Fetis ; Mendel.
PETIT, ADRIEN (called Coclicus, also
Petri), born in Germany about 1500, died
probably there. Pupil of Josquin Despres,
having gone to France in his youth ; he
travelled afterwards, and seems to have re-
sided in Italy, but returned to his native
country. Works : Musica reservata ; Con-
solationes ex psalmis Davidicis, 4 voc. (Nu-
remberg, 1552) ; Motets in the collections
of Adrien Leroy and Ballard ; Treatise on
music (Nuremberg, 1552). — Fetis ; Mendel ;
Schilling.
PETIT CHAPERON ROUGE, LE (Little
Red Riding-hood), opera-comique in three
acts, text by Theaulon, music by Boieldieu,
first rejjresented at the Theatre Feydeau,
Paris, June 30, 1818. The libretto is an
adaptation of the old fairy tale of Perrault.
Red Riding-hood in the opera becomes
Rose d'Amour, a simple peasant girl, who
on her way to visit an old hermit is attacked
by the wolf, who is the Baron Rodolphe.
He possesses a magic ring, the power of
which no woman is able to resist, but by
virtue of her red hood, which is a talisman,
Rose d'Amour escapes. The Baron hurries
to the hermit's abode, and waits for her in
disguise. Rose d'Amour is again saved,
this time by the hermit, who returns to his
home and discovers that she is the Baron's
niece. Rose d'Amour is afterwards given
in marriage to Count Roger, who had won
her heart in the guise of a shepherd. The
opera showed a marked advance in Boiel-
dieu's style, and the orchestration was richer
than that of his former works. The Petit
Chaperon rouge was given in Vienna under
the title of Rothkiippchen, March 27, 1819 ;
in Berlin, July 7, 1819 ; and in Dresden,
Dec. 10, 1823. It was revived at the Opera
Comique, Paris, in 18G0. The score was
dedicated to Louis X\TII., and published
by Breitkopf & Hiirtel, and by Peters (Leip-
sic). Same title, melodrama by Schaffuer,
Paris, Feb. 28, 1818. — Clement et Larousse,
526 ; Hanslick, Moderne Oper, 96 ; Allgem.
mus. Zeitg., xx. 571.
PETIT DUG, LE (The Little Duke),
opera-comique in three acts, text by Hemi
: Meilhac and Ludovic Hak'vy, music by
Lecocq, first represented at the Theatre de
la Renaissance, Paris, Jan. 25, 1878, with
Mile Jeanne Granier as le petit due. It
114
PETITE
was first given in English at the Islington
Philharmonic Theatre, London, April 27,
1878 ; and first in New York, March 17,
1879. Published by Brandus & Co. (Paris,
1878).— Clement et Larousse, 933 ; Athe-
nffium (1878), i. 1G4.
PETITE ilADEJMOISELLE, LA, opera-
eomique iu three acts, text by Meilhac and
Halevy, music by Lecocq, first represented
at the Theatre de la Renaissance, Paris,
April 12, 1879. The scene is in and near
Paris in 1G52. The petite mademoiselle is
a young widow, the Countess Cameroni,
whom Mazarin wishes to marry to the
brother of the dead count. She refuses,
joins the Fronde, and travels to Paris under
the passport of Mme Douillet. Aided by
the capitaine de Manicamp, she passes
through the garrison and arrives in Paris.
He follows, takes her prisoner, and after-
wards marries her. This opera was given
in English as Madelon at the Casino, New
York, Dec. 5, 1887. PubUshed by Bote &
Bock (Berlin, 1879). — Eevue et Gaz. mus.
de Paris (1879), 123 ; Clement et Larousse,
934.
PETITE MARIEe, la, opera-bouflfe in
three acts, text by Eugene Leterrier and
Albert Vanloo, music by Lecocq, first rep-
resented at the Theatre de la Renaissance,
Paris, Dec. 21, 1875, with great success.
— Clement et Larousse, 8G7 ; Atheuseum
(187G), i. 29.
PETIT SOUPER, LE (The Little Sup-
per), opera-comique in one act, by Dalayrac,
first rej^reseuted at the Theatre de la Cour,
Paris, in 1781. Same title, ojjera-comique,
text by Violet d'Epagny, music by Dourlen,
given at the Feydeau, Paris, Feb. 22, 1822.
PETRELLA,"eRRICO, born in Palermo,
Dec. 10, 1813, died in Genoa, April 7, 1877.
Dramatic composer, pupil of Saverio del
Giudice on the violin, and, at the Couserva-
torio San Pietro a Majella, of Jlichele Costa,
Bellini, Furno, Ruggi, and of Zingarelli. He
produced his first opera, II diavolo color di
rosa, 1829, while studying at this school,
and rapidly became one of the most cele-
brated dramatic composers of Italy, second
only to Verdi. His oj^eras enjoyed great
pojDularity for twenty-
five years. Works :
II giorno deUe nozze ;
Pulclnella morto e
non morto, Naples,
1832 ; Lo scroccone,
ib., 183G ; I pirati
spagnuoli, ib., 1837 ;
Le miuiere di Freim-
berg, ib., 1839 ; Le
precauzioui, ib., 1851 ;
Elena di Tolosa, ib., 1852 ; Marco Visconti,
ib., 1854 ; Elnava, o 1' assedio di Leida,
Milan, 1855 ; lone, ossia I'ultimo giorno di
Pompeji, ib., 1858 ; II duca di Scilla, ib.,
1859 ; Morosina, Naples, 1860 ; II foUetto
di Gresy, ib., 18G0 ; Virginia, ib., 18G1 ; La
contessa d' Amalfi, Turin, 186-1 ; Celinda,
Naples, 18G5 ; Caterina Howard, Rome,
1866 ; I promessi sposi, Lecco, 1866 ; Gio-
vanna H. di Napoli, Naples, 1869 ; Manfredo,
ib., 1872 ; Bianca Orsini, ib., 1874 ; Cimo-
docea, Diana, ossia la fata di Pozzuoli, not
given. — Fetis, Supplement, ii. 328 ; Mendel.
PETROBELLI, FRANCESCO, born at
Bologna about 1C35. Church composei-,
maestro di cappella of the cathedral at
Padua. Works : Motetti e Litanie della
B. V. (Autwerji) ; Salmi a quattro voci con
stromenti obligati (Venice, 1662) ; Musiche
sacre concertate, etc. (Bologna, 1670) ; Can-
tate a una e due voci, etc. (ib., 1676) ; Mo-
tetti, Antifone e litanie della B. V. a 2
voci (ib., 1677) ; Musiche da camera (Ven-
ice, 1682) ; Psalmi breves octo vocibus (ib.,
1684) ; Salmi dominicali a 8 voci (ib., 1686) ;
Scherzi musicali, etc. (ib., 1693). — Fetis ;
Mendel.
PETZOLD, EUGEN KARL, born at
Ronneburg, Saxe-Altenburg, Nov. 7, 1813,
died Jan. 22, 1889. Organist, jjujiil of Can-
tor Hasenmeyer on the iiiauoforte, then at
the Thomasschule in Leipsic of Weinlig in
theory, later of David on the violin, of
Julius Knorr and August Klengel on the
pianoforte, of Pohlenz iu singing and on
us
PEVERNAGE
tbe organ, and of Mendelssolin in score-
reading. In 1837 he founded the Phil-
harmonic Society, in 1838-39 was Kapell-
meister of the Stadttheater at Bautzen, and
in ISiO went to Switzerland as musical
instructor at an institute. Having visited
Paris in 1841, he became in 1842 organist
and music director at Murten and in 1844
at Zofingen, Canton Aargau where he ac-
tively promoted musical cultui-e by the
establishment of regular subscription con-
certs, oratorio performances, etc. In 1874
he retired from public life, retaining only
his position as organist. In 1845 he visited
Italy, and in 1851 London. Works : Music
to Goethe's Faust ; do. to Schiller's Wil-
helm Tell ; Concert compositions for solo,
chorus, and orchestra ; do. for various solo
instruments ; Church music ; Pianoforte
pieces ; Songs and choruses. — Mendel, Er-
giinz., 334.
PEVERNAGE, ANDRfi, born at Cour-
trai, Flanders, in 1543, died in Antwei-p,
Jul}- 30, 1591. Chui'ch composer, jjupil at
the maitrise of his cathedral, where he was
chorister, and of which he became maitre de
chapelle at the age of twenty. In 1574 he
married, and moved to Antwerp as choir-
master of the cathedral, and led an active
life in composing, editing a collection of
other authors' works, and giving at his
own house weekly performances from the
best masters. "Works : 5 books of sacred
motets (Antwerp, 1574-91) ; 5 masses (ib.,
1593) and 7 books of motets (ib., 1602).
The British Museum has a book of chan-
sons, and two imjjerfect cojjies of Harmo-
nic celeste, a collection of madrigals ed-
ited by him, in which seven of his own
appear (1583). Eituer mentions sixteen
detached pieces in various collections of
the time. Two have been jirinted in mod-
ern type, an Ode a Sainte-Cecile, O Virgo
generosa (Commer. col. op. mus. Batav:, vol.
vii., Berlin), and a 9-part Gloria in excel-
sis, in the Csecilia of von Oberhoflfer (Lux-
emburg, 1863). — Fetis ; Riemann ; Mendel ;
Schilling ; Gerber ; Ambros, Gesch., iii. 31G ;
Van der Straeten, i. 127-129 ; ii. 243-244 ;
iii. 5 ; vi. 5G, 178.
PEZEL (Pezelius), JOHANN, born in
Austria in the first half of the 17th centurj-.
Instrumental composer, canon of the Order
of St. Augustine, entered in 1672 a monas-
tery in Prague, but left it in the year fol-
lowing and went to Bautzen, Saxony, where
he embraced Protestantism, and became
town piper ; afterwards lived in the same
capacity at Leipsic. He is one of the few
composers who, in the 17th century, cul-
tivated exclusively instnimental music.
Works : Musica vesijertina Lipsiaca, for 1-
5 voices (Leipsic, 1669) ; Hora decima, for
5 voices (ib., 1669) ; Musikalische Arbeit
zum Abblasen, bestehend in 40 Sonetten
mit 5 Stimmen (ib., 1670) ; Arien iiber die
iiberfliissigen Gedanken (ib., 1673 ; Mu-
sikalische Seelenerquickungen (ib., 1675) ;
Bicinia variorum instrumentorum, etc. (ib.,
1674) ; Intraden in zwei Theileu (ib., 1676) ;
DeliciiB musicales, etc. (Frankfort, 1678) ;
Intraden a 4, nehmlich mit einem Cornet
und drei Trombonen (Leipsic, 1683) ;
Fiinfstimmige blasende Abendmusik, etc.
(Frankfort, 1684) ; Musikahsche Gemiiths-
ergotzungen, etc. (1685) ; Opus musicum
sonatorum, etc. (Fi-ankfort, 1686) ; Musica
cui-iosa Lipsiaca, etc. (Leipsic, 1686). His
only vocal composition is : Jahrgang tlber
die Evangelia von 3-5 Vokalstimmen, etc.
(Leipsic, 1678). He published also: Ob-
scrvationes musicse (Leijisic, 1678-83) ; In-
felix musicus (ib., 1678) ; Musica politico-
practica (ib., 1678). — Fetis ; Gerber ; Men-
del ; Reissmaun, Gesch., ii. 300 ; Riemann.
PFEIFFER, GEORGES JEAN, born at
Versailles, Dec. 12, 1835, still Uving, 1890.
Pianist and instrumental composer, son and
pupil of the pianist Clara Virginie Pfeiffer,
and in composition pupil of Maleden and
Damcke. He won immediate success as a
virtuoso, played in London in 1862, and is
much sought as a teacher. His composi-
tions rank among the best of the modern
French school. He is a partner in the firm
of Pleyel, Wolfif & Cie, Paris, pianoforte
116
PFINGSTEN
makers. Works : 3 concertos for piano-
forte and orchestra ; Allegro symj^lionique
for do. ; Symphony for orchestra ; Jeanne
d'Arc, symphonic poem ; Agar, lyrical scenes
for soli, chorus, and orchestra ; Overture to
Le Cid ; Quintet for pianoforte and strings ;
Trio for do. ; Sonatas for do. ; Le capitaine
Eoch, comic opera ; Romances, waltzes,
mazurkas, sonatas, etudes, and many other
pieces for pianoforte. — Fetis ; do.. Supple-
ment, ii. 331 ; Mendel, Ergiinz., 335.
PFINGSTEN (Whitsuntide), cantata, text
by Immergriiu, music by Ferdinand Hiller,
op. 119. Published by Kistner (Leipsic,
1860-67).
PFINGSTEN IN FLORENZ, operetta in
three acts, text by Eiegeu, Zell, and Genee,
music by Alphons Czibulka, first repre-
sented in Vienna, Dec. 20, 1884. An Eng-
lish version, entitled Amorita, translation
by Sidney Rosenfeld and Leo Goldmark,
was given at the Casino, New York, Nov.
16, 1885.
PH^DRA, music to the tragedy of Prince
Georg of Prussia (G. Conrad), by Wilhelm
Taubert, first performed in Berlin in 1868.
Operas on this subject, in Italian : Fedra
incoronata, text by Vissai'i, composer un-
known, Munich, 1662 ; Fedra, by Gluck,
Milan, 1744 ; by Giovanni Paisiello, Naples,
1788 ; by Niccolini, Rome, 1804 ; by Ferdi-
nando Orlandi, Padua, 1820 ; by Simon
Mayr, text by Eomanelli, Milan, Dec. 26,
1820 ; by John Fi-anc Westmoreland, Flor-
ence, Nov. 17, 1824 ; and in French, Phedre,
text by F. B. Hoffman, music by Lemoiue,
at the Academie Royale de Musique, Paris,
Nov. 21,^ 1786.
PHAETON, tragedie-lyrique in five acts
with prologue, text by Quinault, music by
Lully, first represented at Versailles, Jan.
6, 1683 ; at the Academic Royale de Mu-
sique, Paris, April 27, 1683. This work
was received with immense applause, and
became such a favourite that it was called
" I'opera du peuple." It was played every
night until July 30, 1683, when Lully closed
the theatre, on the announcement of Maria
Theresa's death. The prologue, the sub-
ject of which is the return of the Golden
Age, in praise of Louis XIV., is written for
two characters, Saturne and Astree. The
opera contains many brilliant scenes, and
the temple of Isis, the palace of the Sun,
and Phaeton's ride and fall were represented
with great magnificence. The music ranks
among Lully "s best compositions. The op-
era was revived in 1742. Published by
Ballard (Paris, 1683 ; 2d ed., 1713). This
work occasioned several parodies, one of
which was entitled Le cocher maladroit.
Other operas on the same subject : In Ital-
ian, Fetonte, by J. H. Kapsberger, Rome,
1630 ; by Pietro ParaJisi, London, Dec. 17,
1747 ; by Karl Heinrich Graun, text by
Villati, Beriin, March 29, 1750 ; and by Jom-
melli, Stuttgart, June 11, 1769. Phaeton,
English tragedy by Gildon, with music by
Daniel Purcell, London, 1698; and The
Fall of Phaeton, English opera by Thomas
Augustine Arne, ib., 1736. In German :
Phai-thou und Nais, by Bachmann, Dresden,
about 1790, and by Bierey, Breslau, about
1804. O precipicio de Phaetonte, Portu-
guese opera, by Antonio Joao da Silva, Lis-
bon, 1738. — Lajarte, i. 44 ; Clement et La-
rousse, 528.
PHAETON, symphonic poem, for or-
chestra, in C, by Saint-Saens, op. 39, first
performed in Berlin, Feb. 14, 1876. Dedi-
cated to Mme Berthe Pochet, nee de Tiuau,
and published by Durand Schoenewerk &
Cie (Paris, 1876) ; arranged for the piano-
forte for four hands by E. Guiraud.
PHEDRE, overture to Racine's tragedy,
for grand orchestra, in G minor, by Mas-
senet, first j)erformed at the Concerts Popu-
laires, Paris, March 26, 1876. It is dedi-
cated to Joseph Dupont, and published by
Schott (Mainz, 1876).
PHILEMON ET BAUCIS, ballet-hero-
ique in one act, text by Chabanon de Mau-
gris, music by Gossec, first represented at
the Academic Royale de Musique, Paris,
Sept. 26, 1775. It was given after Alexia
et Daphne, a pastorale in one act, by the
PHILEMOjST
same authors. Original cast : Philumon,
M. Larrivee ; Baucis, 'Mile Levasseur ; and
Jupiter, M. Gclin.
PHILEMON ET BAUCIS, French opera
in thi'ee acts, text by Barbier and Carre,
music by Gounod, first represented at the
Theatre Lyrique, Paris, Feb. 18, 18G0.
The opera had first been composed in one
act for the theatre of Baden. The subject
is treated in a half-mythological, half-bur-
lesque manner. The original cast included
Bataille, Fromant, Balanque, and IMme Car-
valho. Other operas on the subject are :
Baucis e Filemone, by Gluck, Parma, 17G9 ;
by Jotio Cordeiro da Silva, Lisbon, 1789 ;
in French, by P. Alex. Monsigny, 1771, not
given ; in German, Philemon und Baucis,
Mariouettenoper, by Joseph Haydn, Esz-
terhi'iz, Sept. 2, 1773 ; Siugspiel, by Joh.
Bi'ihni, 180;j ; melodrama, by Franz Stanis-
laus Spindler, 1800 ; music to Conrad Gott-
lieb Pfefiel's drama, Philemon und Baucis,
by Anton Schweitzer, Weimar, 1770 ; bid-
let to the same, by K. Chr. Agthe, Ballen-
stiidt, 1790 ; and music to Konrad Eckhoff's
drama, by Karl David Stegmann, Gotha,
1777. — Clement etLarousse, 530 ; Hauslick,
Mus. Stationen, 131.
PHILIDOE, ANDRE DANICAN-, called
Philidor I'aine, born in Paris about 1G47,
died at Dreux, Aug. 11, 1780. Dramatic
composer, son of Jean Danican-Philidor
(1G20-79) ; member of the Grande Ecurie,
the Chambre, and the Chapelle of Louis
XrV\ He played the bassoon, cromorne,
oboe, and tromjjette marine, and competed
with LuUy in writing bugle-calls, fanfares,
and military marches. He was also libra-
rian of the king's music library from 1G8J:
until his death. Works : Le canal de Ver-
sailles, opera-ballet, 1GS7 ; La princesse de
Crete, do. Masquerades : Le mariage de la
Couture avec la grosse Cathos, 1G88 ; Mas-
carade des Savoyards, Le roy de la Chine,
Marly, 1700 ; La noce do village ; Les Ama-
zones ; Le lendemain de la noce ; Le vais-
seau marchand ; Le jeu des echecs ; La
fete d'Ai'cueil. Trios, passe-pieds, et me-
nuets ; Suite de danses pom- les violons et
hautboys ; Pieces a deux basses de viole,
basse de violon et bassou ; Pieces de trom-
l^ettes et timbaUes ; Partition de plusieurs
marches et batteries do tambour, etc. — Fetis,
Supplement, ii. 334.
PfflLIDOE, ANNE D.ANICAN-, born in
Paris, April 11, 1G81, died there, Oct, 8,
1728. Flutist and dramatic composer, son
of the i^receding, was admitted to the king's
chamber music in 1702, and estabUshed
the Concerts Spirituels in 1725. Works:
L'Amour vainqueur, pastorale, 1G97 ; Diane
et Endymion, 1G98 ; Danau, opera. Marly,
1701 ; Te Deum, motet a 4 voix et chante
sur mer, etc. ; Pieces pour la flilte, violons
et hautbois, etc. (1712). His brother Fran-
cois, born at Versailles, March 17, 1G89, was
also an able flutist, and has left 2 books of
Pieces for his instrument (Paris, 171G,
1718). — Fetis, Supplement, ii. 337.
PHHJDOR, FRANgOIS ANDKfi DA-
NICAN-, born at
Dreux (Eure-et-
Loir), Sept. 7,
172G, died in
London, Aug. 31,
1795. He was
the youngest sou
of Andre Diuai-
ean-Philidor, b y
his second mar-
riage. His talent
both for chess and
music showed it-
self at an early age, although he became tlie
first chess-player in the world before he was
at all noted as a musician, or, indeed, before
be showed much enthusiasm for music. As
a boy he was a page in the Chapelle du Eoi,
and laid the foundations of a good musical
education by studying harmony under Cam-
pra. Wlien he left the chapelle he went to
Paris, where for some time he supported
himself bj- lessons and copying music. But
the discouragements he met with were such
that he abandoned music, and took up chess-
playing as a profession. At the age of eigh-
iis
PniLIDOK
teen he was already one of the most formid-
able players in Europe. In 1745 he set out
on a tour, beating the famous Stamma in
Amsterdam. Thence he went to Germany,
staying some time, in 1748, at Aix-la-Cha-
pelle, to write a book on chess. Lord Sand-
wich invited him to the English camp be-
tween Bois-le-Duc and Maestricht, where
the Duke of Cumberland was so pleased
with him and his play that he invited him
to London and to publish his " Analyse du jeu
des t'checs," the first edition of which aji-
peared in 1749. He won immense distinc-
tion on this and other visits to London,
especially at the Chess Club, which institu-
tion afterwards gave him a regular pension.
His zeal for music sprang up suddenly in
1754, when he wrote a Lauda Jerusalem,
hoping to get the jsost of surintendant de
la musique du roi in Paris, Diderot and
others of his friends having done their best
to persuade him that the mental strain of
continued chess-playing was injuring him,
and that music was his true vocation. He
did not, however, get the appointment as
surintendant ; but his seK-love would not
brook the idea of failure, and he turned
his attention to dramatic composition. His
first opera, Blaise le savetier, 1759 (strictly
speaking, his second ; his Diable a quatre
had failed in 175G), was a brilliant success,
and was followed by others equally fortu-
nate. But his passion for chess continued
unabated, and in 1777 he returned to Lon-
don. Going back to Paris in 1779, he
found Gluck and Grutry high in popular
favour, yet tried, nevertheless, for fresh lau-
rels with his Persee and Themistocle, but
without his former success. Every year he
would pass a few mouths in London, inlay-
ing chess ; in 1792 he got permission from
the Comitu du Salut Public to make his
regular visit there, but he was prevented
from returning to Paris, and his relations
did not succeed in getting his name struck
off from the list of emigres before his death.
Philidor was decidedly a more cultivated
musician than his contemporaries GriJtry
and Monsigny ; he was at once more orig-
inal, his harmony was more correct and va-
ried, and he gave far more importance to
the chorus and the orchestra than they ; in
orchestration especially he was the sujoerior
of any French comjjoser of his day. But in
melodic grace and dramatic instinct, both
Monsigny and Gretry surjjassed him. His
popularity was unbounded, and he was the
first composer ever called before the curtain
in Paris — after the first performance of his
Sorcier, in 1764. Works — L Operas : Le
diable a quatre, four acts, Paris, Opera Co-
mique, Aug. 19, 1756 ; Le retour du prin-
temps, opera-ballet, December, 1756 ; Blaise
le savetier, one act, Opera Comique, March
9, 1759 ; L'huitre et les plaideurs, ou le
tribunal de la chicane, one act. Theatre de
la Foire Saint-Laurent, Sept. 18, 1759 ; Le
quiproquo, two acts, Comedie Italienne,
March 6, 1760 (afterwards reduced to one
act, as Le volage fixe) ; Le soldat magicieu,
one act, Theatre de la Foire Saint-Laurent,
Aug. 14, 1760 ; Le jardinier et son seigneur,
one act, Feb. 18, 1761, revived at the The-
atre Lyrique, May 1, 1763 ; Le marcchal-
ferrant, two acts. Theatre de la Foire Saint-
Laurent, Aug. 22, 17G1 ; Sancho Pan<;a dans
son ile, one act, Comedie Italienne, July 8,
1762 ; Le bilcheron, ou les trois souhaits,
one act, ib., Feb. 28, 176.3 ; Les fetes de la
paix (intermezzo, written on the conclusion
of peace with England), 1763 ; Le sorcier,
two acts. Theatre Italien, Jan. 2, 1764 ; Tom
Jones, three acts, ib., Feb. 27, 1765 ; Er-ne-
linde, princesse de Norvege, three acts, Aca-
demie Eoyale de Musique, Nov. 24, 1767,
and revived as Sandomir, jjrince de Dane-
mark, Dec. 11, 1773 ; Le jardinier de Sidon,
two acts. Theatre Italien, July 18, 1768 ;
L'amant deguise, ou le jardinier su25pose,
one act, ib., Sejit. 3, 1769 ; La rosiere de
Salency (with several others), ib., Oct. 25,
1769 ; La nouvelle ecole des femmes, three
acts, ib., Jan. 22, 1770 ; Le bon fils, one
act, ib., Jan. 11, 1773 ; Zelime et Melide, ou
les fausses infidelites, ib., Oct. 30, 1773;
Berthe, three acts (with Botson and Gos-
PHILIDOK
sec), Brussels, 1775 ; Les femmes Tengees,
one act, Paris, Theatre Italian, March 20,
1775 ; Le puits d'amour, ou les amours de
Pierre le Long et Blancbe Bazu, one act,
May 1, 1779 ; Persee, three acts, Academie
Royale de Musique, Oct. 24, 1780 ; Le dor-
meur eveiUe, 1783 ; JJamitie, au village,
three acts, Tht-atre Italien, Oct. 31, 1785 ;
Thumistocle, three acts, Fontainebleau, Oct.
13, 1785, and Academie Royale de Musique,
May 23, 1786 ; La belle esclave (not per-
formed) ; Le mari comme il les faudrait tous,
one act, 1788 ; Bclisaire, three acts (Act 11.
is said to be by Berton), Theatre Italien,
Oct, 3, 1796. n. Church music : Lauda
Jerusalem, motet, performed at the Concert
Spirituel, Paris, Feb. 2, 1755 ; Mass for the
anniversary of Eameau's death, Oratou-e,
Paris, 1766 ; Te Deum, Concert Spirituel,
Paris, Aug. 15, 1786 ; and many motets
performed at the Concerts Spirituels, but
not jjublished. HI. Miscellaneous works :
L'Art de la modulation, quartets for two
violins, oboe, and bass, dedicated to M. le
due d'Ayen (Paris) ; Ariettes periodiques,
for one voice with accompaniment of violin,
viola, bass, oboe, and horn, and also a sim-
ple accompaniment of violin and bass, pub-
lished by Philidor and Trial every fifteen
days. Philidor's include : 1. Le triomphe
de la jeunesse ; 2. Les rigueurs d'Hortense ;
3. Le pure de famille ; 4. Le printemps ; 5.
Le poUtique ; 5 bis. A quelque chose malheur
estbon; 6. Aus sons amoureuxdes musettes;
7 and 7 bis. Venus, venes sous ces bosquets
charmauts, La restitution ; 8. La vie cham-
petre ; 9. L'image de la guerre ; 10. L'iudiffe-
rent; 11. L'amant malheureux ; 12. La ber-
gere coquette ; L'ete, song for one voice with
two violins, viola, and bass ; Six ariettas
composed for Sauvigny's Histoire amoureuse
de Pierre le Long et de sa tres-honoree
dame Blanche Bazu ; and Carmen seculare,
an ode, Loudon, 1779. Philidor also pub-
lished a book on chess. Analyse du jeu des
echecs (London, 1749). — Reflexions sur un
prospectus oti Ton propose par souscription
lapartitioncompleted'Ernelinde, byT. . .
F. (Paris, 1768) ; Lettre a M. le Chevalier
de . . . a I'occasion du nouvel opera
(Ernelinde), (ib., 1868) ; Piot, Particularites
inedites concernant les reuvres musicales
de Gossec et de Philidor ; ]fipitre a M. A.
Phihdor, by a Citoyen (Paris, 1780) ; Lar-
din, Philidor peint par lui-meme (Paris,
1847) ; Fetis, vii. ; Clement, IMus. celebres,
101 ; La France musicale (Dec. 22, 1867, to
Feb. 16, 1868) ; Allen, Life of Philidor.
PHILIDOR, PIERRE DANICAN-, born
in Paris, Aug. 22, 1681, died there (or at
Versailles), Sept. 1, 1731. Flutist, son and
pupil of Jacques Philidor (called Philidor
le cadet, brother of Andre, born in Pai-is,
May 5, 1657, died at Versailles, May 29,
1708), also pupil of his uncle Andre ; at first
oboe player of the Grande Ecurie, then of
the Chapelle (1704), he became flutist of the
chamber music in 1712, and viola player in
1716. Works: Pastorale, Marly, 1697; 6
suites a deux fliites, etc. (Paris, 1717, 1718) ;
Trio, contenant 6 suites, etc. (ib.). — Fetis,
Supplement, ii. 338.
PHILIPPE DE MONS. See Blonte.
PHTTJPPE ET GEORGETTE, opera-
comique in one act, text by Monvel, music
by Dalayrac, first represented at the Come-
die Italienne, Paris, Dec. 28, 1791. This
work was given in Berlin, Feb. 14, 1805, in
a German translation by A W. Schlegel.
— Clement et Larousse, 530.
PHILIPPS, PETER (Petrus Philippus,
Pietro FiUppo), born in England about 1560,
died in April, 1625. Contrapuntist, and
church composer ; was canon of Bethune in
French Flanders, became organist of the
vice-royal chapel of the Archduke Albert and
Isabella, governors of the Low Countries ;
appointed in 1610 canon of the Collegiate
Church of Saint- Vincent at Soignies. Bur-
ney says that the first regular fugue upon
one subject that he had met with was that
by Peter Philipps, found, with others of his
compositions, in Queen Elizabeth's Virginal
Book, Trinity College Librai-y, Cambridge.
Hawkins has printed a four-part madrigal
of his. Works : Melodia Olympica di di-
uo
PHILLIPS
versi eccellentissimi niusici a iv., v., vi. e viii.
voci (1591) ; reprints (1594-lGll). Four
books of madrigals (1596, 1598, 1603) ; Mo-
tets for 5 voices (1612) ; do. for 8 voices
(1613) ; Gemmulse sacrse, for 2-3 voices
with continuo (1613) ; Litanies for 4-6
voices (1623) ; Paradisus sacris cantionibus
conditus (1628). — Grove ; Fetis ; Burney,
Hist., iii. 86 ; Barrett, English Church
Com250sers, U ; Eiemanu ; Mendel ; Schil-
ling ; Gerber.
PHILLIPS, PHILIP, born, of American
parentage, in Casadaga, New York, Aug. 13,
1834, still living, 1890. He studied under
Lowell Mason, George F. Root, Adams Da-
vis, and others. In 1853 he began con-
ducting singing-schools in Alleghany, New
York, and neighbouring places. In 1860
he published Early Blossoms, a collection,
of which 20,000 were sold ; then opened a
music shop in Cincinnati, where, in 1863,
he published Musical Leaves, which had a
sale of 700,000. During the Civil War he
greatly aided the Christian Commission by
services of song in different j^arts of the
country. He has made several trips to Eu-
rope, conducting there nearly six hundred
musical entertainments ; in a tour round
the world he held praise services in the
Sandwich Islands, Australia, New Zealand,
Palestine, Egypt, India, and in many Euro-
pean cities. In 1866 he removed to New
York, where he has since resided. His
other published works are: Singing Pil-
gi-im, 1865 ; Song Life, 1872 ; New Hal-
lowed Songs, 1872 ; Singing Annuals, 1874-
75-76 ; Song Ministry, 1874 ; Song Ser-
mons, 1876 ; International Song Service,
1887.
PHILLIPS, WILLIAM LOVELL, born
in Bristol, England, Dec. 26, 1816, died in
London, March 19, 1860. Pianist, pupil of
Potter at the Royal Academy of Music, and
on the violoncello of Liudley. Professor of
composition at the Roj-al Academy. Mem-
ber of orchestra of Her Majesty's Theatre,
Philharmonic Society, and Sacred Harmonic
Society. Conductor at the Olympic and Prin-
cess's Theatres. Organist of St. Catherine's
Church, Regent's Park. Works : Symphony
in P minor ; Cantata ; Songs.
PHILOSOPH, DER, symphony in E-flat,
written by Haydn about 1764.
PHILP, ELIZABETH, born in Falmouth,
England, in 1827, died
in London, Nov. 26,
1885. Vocal composer,
pupil of Manuel Garcia,
Marchesi, and Ferdi-
nand Hiller. She de-
voted herself to teach-
ing and composed a
number of meritorious '
songs and part-songs,
many of which have ' :
been popular. Among her first was a ballad
(1855), Tell me, the summer stars, words
by Edwin Arnold. She set also six songs
from Longfellow, The Water Babies, Eliza-
beth Barrett Browning's " Inclusions," Vic-
tor Hugo's " Chant des lavandiores," and
Prudhomme's "Le souj^ir." Many of her
songs and part-songs were sung by herself
and other singers at her own concerts.
PHILTRE, LB, French opera in two acts,
text by Scribe, music by Auber, first rep-
resented at the Acadomie Royale de Mu-
sique, Paris, June 20, 1831. The subject
is the same as Donizetti's Elisire d' amore.
Original east : Terusine, Mme Damoreau ;
Guillaume, M. Adoljihe Nourrit ; Fonta-
narose, M. Levasseur ; and Joli Coeur, M.
Dabadie. This opera remained in the rep-
ertory until 1862. It was given in Ber-
lin, Oct. 15, 1831. Full score and piano-
forte score by Ch. Rummel, and by V.
Rifaut, published by Schott (Mainz, 1833) ;
also by E. Troupenas (Paris, 1833) ; Latour
(London, 1833), German translation by von
Lichtenstein. — Allgem. mus. Zeitg., xxxv.
289 ; Clement et Larousse, 530 ; Lajarte,
ii. 138.
PHCEBUS, ARISE, cantata for male cho-
rus, tenor solo, and orchestra, text from
William Drummond of Hawthornden's
poem of the same title, music by John
m
PHEOSINE
Knowles Paine, first performed in tbe Mu-
sic Hall, Boston, by the Apollo Club, April
26, 1882.— Upton, Standard Cantatas, 289.
PHROSINE ET MfiLIDOE, French op-
era in three acts, text by d'Arnault pure,
music by Mehul, first represented at the
Opera Comique, Paris, May i, 1794.
PLiCENZA, PASQU.\LE, born at Casal
Monferrato, Nov. 16, 1816, died at Pistoja,
Oct. 23, 1888. Dramatic composer ; studied
at first the flute and the bassoon, and en-
tered the band of a regiment, of which,
within a few years, he became bandmaster.
In 1859 he was commissioned to organize
the bands of several regiments, obtained
the rank of ofiicer, and after having re-
signed, held various positions as maestro
di cappella at theatres. Works : II tribunal
segi-eto, given at Cuneo, 1845 ; Marinella,
Turin, 1858 ; Cii^riano U sarto, Genoa, 1860
(?) ; Monaldcsca, Turin, 1867. — Fetis, Sup-
plement, ii. 342.
PM.NGERO LA SORTE ^^^^, soprano
ai'ia of Cleopatra, in E major, with ac-
companiment of traversa, two violins, and
bass, in Handel's Giulio Cesare, Act III,
Scene 3. Published also separately with
the accompaniment filled out by Otto Dresel
(Leipsic, Breitkopf & Hiirtel).
PIATTI, ALFREDO, born in Bergamo,
Italy, Jan. 8, 1822,
still living, 1890. Vir-
tuoso on the violon-
cello, son of the vio-
linist Antonio Piatti
(died at Bergamo,
Feb. 27, 1878), pupil
'if his gi-eat-uncle
Zanetti, and in 1832-
37, at the Conserva-
torio, Milan, j)upil of
Merighi. He began playing in the orches-
tra of the theatre at seven ; and in 1837
made his first public ajipearance as a solo
performer. He went to Venice and Vienna,
gave concerts in 18-41 in Frankfort, in 1843
in Munich with Liszt, and iu 1844 in Pai-is
and Loudon. He played with success at
the London Philharmonic Society's con-
cert on the same occasion with IMendelssohn,
and also jjlayed with him several times in
private. In 1845 he went to St. Peters-
burg, but returned in 184G to London, and
still resides there, holding since 1859 the
position of violoncellist at the Pojiular Con-
certs. Works : Concertino and two con-
certos for violoncello and orchestra ; Songs
with violoncello obligate. He has also done
good service by arranging and producing
many forgotten sonatas by Veracini, Valeu-
tini, Locatelli, Boccherini, and other com-
posers for strings of the 18th century.
— Grove ; Fctis ; do., SuppK-nient, ii. 342 ;
Riemann ; Mendel ; Hanslick, Concertwesen
in Wion, 162.
PIAZZA, GIOV.VNXI BATTISTA, born
in Rome, second half of 16th century. Vir-
tuoso on several instruments, especially
on the viola, pupil of Vincenzo Ugolino.
Works: Canzoni per una viola (Venice, 1633,
2d ed.) ; do., 2d book (ib., 1527) ; Balletti e
correnti a una viola con basso (ib., 1628) ; Cia-
conne, passacaglie, balletti, etc. (ib.) ; Can-
zoni, lib. v.; Correnti, ciaconne, etc., lib. vi.;
Canzonette jjer una viola. — Fetis ; Mendel.
PICCHI, ERMANNO, born at Impruneta,
near Florence, June 7, 1811, died in Flor-
ence, April 18, 1856. Dramatic composer,
pupil of Ignazio Colson in Florence, where
he was appointed in 1850 secretary of the
music class at the Academy and in 1852
director of the annex schools. Works :
Marco Visconti, opera, given in Florence,
1838 ; Don Crescendo, opera buffa (with
Fiori), Modena, 1854 ; II domino bianco,
Florence, 1855 ; Ezechia, oratorio ; Masses,
psalms, overtures, concertos, music for mili-
tary bands, and for j)ianoforte. — Fetis ; do.,
Supplement, ii. 342.
PICCHIANTI, LUIGI, born in Florence,
Italy, Aug. 29, 1787, died there, Oct. 19,
1864. Virtuoso on the guitar ; although
opposed by his family, made music his
profession and studied counterpoint under
Disma Ugolini. He became one of the edi-
tors of the " Gazzetta Musicale " of Florence,
123
ncciNJs^i
ami in 1852 was appointed jsrofessor of
counterpoint. Works : Metiiod for guitar ;
Quartet for stringed instruments, and parti-
menti for the study of harmony and ac-
companiment ; Sonatas, caprices, etudes,
and themes varies for guitar ; Psabn cix.,
for 8 voices in two choirs with orchestra,
etc. Didactic works : Princiin generali
e ragiouati della musica teorico-pratica
(Florence, 1854 ; Milan, 1855) ; Notizie della
vitta e delle opere di Luigi Cherubini
(Florence, 1843) ; and other works on har-
mony, composition, and accompaniment.
— Futis ; do., Sujjplement, ii. 343 ; Mendel;
Schilling.
PICCINNI, LUIGI, born in Naples in
1766, died, between Paris and Passy, July
31, 1827. Dramatic composer, son and
puijil of Nicola Piccinni, whom he joined
in Paris in 1783, and accompanied again
to Naples in 1791. He was appointed in
1796 royal Kapellmiistare at Stockholm, and
returned in 1801 to Paris. Works : Les
amours de Cherubin, Paris, Theatre de
Beaujolais, 1784 ; Suzette et Colinet, ou les
amants heureus par stratagems, ib., 1786 ;
La suite des deux chasseurs et la laitiere,
ib., 1788 ; Les infidolites imaginaires. The-
atre Louvois, 1790 ; Gli accidenti inaspet-
tati, Naples, 1792 ; L' aniante statua, Venice,
1793 ; II matrimonio par raggiro, Genoa,
1793 ; La notte imbrogliata, Florence,
1794 ; Ero e Leandro, theatrical cantata^
1795 ; n sonnambulo, Stockholm ; Le
sigisbee, ou le fat corrige, Paris, Theatre
Feydeau, 1804 ; L'ainee et la cadette ;
Avis aux jaloux, ou la rencontre imprevue,
1809 ; Hippomene et Atalante, Opera, 1810 ;
La rancune trompee, 1819. — Fetis.
PICCINNI, LOUIS ALEXANDRE, born
in Paris, Sept. 10, 1779, died there, April
24, 1850. Dramatic composer, son of Giu-
seppe and grandson of Nicola Piccinni, pu-
pil of Hausmann on the pianoforte and of
Lesueur in composition, finally of his grand-
father. At first accompanist at the Theatre
Feydeau and then at the Opera, he was
chef d'orchestre at the Theatre de la Porte
Saint-Martin in 1803-7 and in 1810-16,
court accompanist in 1804-18, and at the
Theatre du Gymnase in 1820-24, and chef
de chant at the Opera in 1816-26. The
privilege of theatrical performances at Bou-
logne was accorded him in 1827, but the
enterprise did not succeed, and he returned
to Paris to teach until 1836, when he settled
at Boulogne, with the same object in view.
Afterwards he lived several years at Tou-
louse, where he was director of the Con-
servatoire, thence went to Strasburg to teach
singing, and while there conducted the con-
certs and music festivals at Baden-Baden.
In 1849 he returned to Paris. Works :
L'amoureux par surprise. Theatre Feydeau,
1804 ; Avis au public, ou le physionomiste
en defaut, ib., 1806 ; lis sont chez eux, ib.,
1808 ; Le sceptre et la charrue, ib., 1817 ;
La maison en loterie, Theatre du Gymnase,
1820 ; Le Bramine, ib., 1822 ; La petite
lampe merveilleuse, ib., 1822 ; La fete fran-
yaise, ib., 1823 ; Alcibiade solitaire. Opera,
1824 ; La prise de Jericho, Strasburg, 1847 ;
and more than 200 melodramas and ballets ;
romances, cantatas, vaudeville airs ; Sonatas,
pot-pourris, and themes varies for jjiano-
forte.— Fetis ; Mendel.
PICCINNI (Piccini, Picinni), NICOLA,
born at Bari, King-
dom of Naples, Jan.
16, 1728, died at
Passy, near Paris,
May 7, 1800. His
father, a musician,
wished him educated
for the church, but
the Bishop of Bari
persuaded him in
1742 to send his son to the Conservatorio
di S. Onofrio, Naples, where the lad became
in time a favourite pupil of Leo and Dvirante,
after being first instructed by a maestrino
(pupil-teacher). Piccinni left the Conserva-
torio in 1754, after twelve years' study, and
brought out bis first opera, Le donne dis-
pettose, at the Teatro de' Fiorentini in Na-
ples, with great success, in spite of the fact
123
PICCINNI
that Logroscino's opere buffe virtually mo-
nopolized the stage at that time. His sud-
den fame, as well as his ability as a composer,
grew rapidly, with subsequent operas, until
in 17G0 his Cecchiua carried everything
before it in Rome, and soon passed on to
almost every lyric stage in Europe. Four
years previously he had married his pupil,
Viuceuza Sibilla, an excellent singer, pos-
sessed of an exceedingly sympathetic voice
and great personal beauty. He never al-
lowed her to go upon the stage, although
he said that she sang his music better than
anyone else. The fame of La cecchina
reached JommeUi's ears, and although at
first inclined to pooh-pooh it as mere boy's
work, the great master predicted, after he
had heard it, great things of the young
composer. Piccinui's next success was
L' Olimpiade, and though the text had
already been set by Leo, Pergolesi, Galuppi,
and Jommelli himself, his oj)era excelled
those of all his predecessors. Even in
these early operas Piccinni showed himself
an innovator, uotablj- in his more dramatic
treatment of the duet, and his more ex-
tended development of the finale, on lines
first laid down by Logroscino. He was,
indeed, practically the first opera eomjjoser
to turn choral masses to dramatic account
on the stage. In 1773 a rivalry sprang up
in Rome between him and Anfossi, who,
although an inferior conijioser, had caught
the popular ear. The fickle Roman public
went over to the new favourite en masse, and
an opera by Piccinni was hissed and had to
be withdrawn. This so outraged Piccinni
that he returned to Najiles, and fell so ill
that his life was despaired of ; but on his
recovery he brought out I viaggiatori,
which made almost as much furore in Na-
ples as La cecchina had in Rome. In 1776
he was offered a salary of G,000 francs, and
travelling expenses, by Marie Antoinette,
through La Borde and the Neapolitan
ambassador, General Caraccioli, if he would
go to Paris to uphold the standard of the
traditional opera against the innovations of
Gluck. He arrived there with his family
in December, and set to work, with Mar-
montel's aid (for he did not know a word
of French), upon a text by Quinault which
Marmontel had remodelled. But a good
while before his opera was finished the
opponents of Gluck clustered around Pic-
cinni as around a chosen chami^ion, and
when at last his Roland came to its first
performance, in 1778, the famous Gluekist
and Piccinnist factions were already at
swords' points, and the animosity between
the two 23arties was so violent that fears
were entertained for Piccinni's safety. The
success of Roland was, however, undoubted,
and the composer was carried home in
triumph. He was appointed director of
the Italian troupe that alternated with the
regular French company at the Academie
de Musique, and was also engaged to give
singing-lessons to Marie Antoinette at Ver-
sailles. It is a little curious that both
Gluck and Piccinni, in their world-famous
rivalry, should have owed much to the
Queen's protection ; it is highly probable,
however, that Marie Antoinette protected
Gluck more from personal affection, as her
old clavecin teacher in Vienna, while her
musical sympathies were more with Pic-
cinni. But she certainly used her iufluence
to secure fair jjlay for each. The rivalry,
and the two opposing factious, went on
until the production of Gluck's Iphigeuie
en Tauride, May 18, 1779, left the victory
with Gluck. An oj^era by Piccinni on the
same subject was to have been brought out
first, and the two composers shown in
more immediate com2)arison than ever ; but
Piccinni found the version of the text offered
him so bad that he had to interrupt his
work ujion it, and hand it over to Ginguene
to be rewritten, and his Iphigouie en Tau-
ride could not be brought out until Jan.
23, 1781, a year after Gluck had left Paris.
It had but small chance of success after
Gluck's immortal work, especially as the
Gluekist faction was, by that time, well in
the ascendant. But a new rival sprang up,
PICCrNNI
in the f)erson of Sacchini, and although Pic-
cinni's Didon was a brilliant success, and
some smaller operas won general favour,
the tide of fortune gradually tui-ned tow-
ard his rival. About 1783 Piccinni was
made head master of a new school of sing-
ing founded in Paris, but his star was on
the wane, and his new oj)eras were all fail-
ures with the public. He was a mau wholly
unfitted for intrigue, being of a frank, ojsen,
kindly nature, fond of domestic life, and
bearing no one ill-will ; in his rivalry with
Gluck he had been supported by a powerful
and active faction, which left no stone un-
turned that could contribute to his success ;
but when left to himself, he had only his
own genius to trust to. He was not in the
least embittered by his reverses, and when
Sacchini died it was he that pronounced
his funeral oration, while on Gluck's death,
in 1787, Piccinni tried to raise funds by
subscription to found a series of annual
concerts in his memory. On the breaking
out of the Eevolution in 1789 he lost his
pension, and returned to Naples, where he
was well received, and obtained a pension
from the king. But the remainder of his
life was an almost unbroken series of
troubles. A daughter of his married a
young Frenchman of advanced liberal ideas,
and he saw one of his ojaeras deliberately
hissed on account of his supposed Jacobin-
ism. He was placed under an-est by the
jirime minister — more to save his life than
for any other reason— and remained im-
prisoned in his own house four years, in
great poverty, for all his propertj' in France
was lost, and a friend whose paper he had
indorsed went into bankrujatcy. He
supported himself as best he could by
writing church music. In 1798, after the
treaty of peace with the French Kejjublic,
some influential friends made it possible for
him to go once more to Paris, where he was
feted at the Conservatoire, and presented
with a sum of 5,000 francs, and a small pen-
sion. But ill-luck still pursued him ; his
pension was irregularly paid, and when his
family, whom he had left in Naples, were
forced to fly before Napoleon's army, they
arrived in Paris in utter destitution. He
had an attack of paralysis, which lasted
several months. On his recovery Napoleon
gave him 25 louis for a military march, and
helped him in other ways ; a sixth inspec-
tor's place was also created at the Conserva-
toire for his benefit, but severe illness struck
him down again, and he retired to Passy,
only to die. He was buried in the common
burial ground (since sold), and a stone
was set up over his grave by some friends.
Works — I. Operas : Le donne dispettose,
Naples, 1754 ; Gelosia per gelosia, ib.,
1755 ; II curioso del suo proprio danno,
ib., 1755 ; Zenohia, ib., 175G ; L' astrologo,
ib., 175G ; L' amaute ridicolo, ib., 1757 ; La
schiava, ib., 1757 ; Cajo Mario, ib., 1757 ;
La morte di Abele, ib., 1758 ; Petiton, ib.,
1758 ; La scaltra letterata, ib., 1758 ; Gli
uccellatori, Venice, 1758 ; Alet^saiuho nell'
Indie, Rome, 1758 ; II Ciro, ?, 1759 ; Siroe,
Naples, 1759 ; Le donne vendicate, ib.,
1759 ; La buona figliuola, ossia la Cecchina,
Rome, 1759, and Paris, Academie Eoyale
de Musique, Dec. 7, 1778 ; Origilla, Naples,
1760 ; H r^ pastore, ib., 1760 ; La couta-
dina bizzarra, ib., 1761 ; L' Olimpiade, Rome,
17C1 ; L' amor senza malizia, Naples, 1761 ;
Demetrio, ib., 1762 ; La bella verita, ib.,
1762 ; Le vicende della sorte, ib., 1762 ;
La viUeggiatura, ib., 1762 ; Demofoonte, ib.,
1762 ; II barone di Torre forte, ib., 1762 ;
II nuovo Orlando, ib., 1763 ; II mondo della
luna, ib., 1763 ; L' incognita perseguitata,
ib., 1763 ; II gran Cid, ib., about 1763 ;
Berenice, ib., 1764 ; La Cecchina maritata
(La buona figliuola maritata), ib., 1765; II
cavaliere per amore, ib., about 1765 ; Le
f)escatrici, ossia 1' erede riconosciuta, ib.,
1765, and Vienna, Jan. 23, 1769 ; La Fran-
cese maligna, ib., 1766 ; La molinarella,
ib., 1766 ; Artaserse, Turin, 1766, and Na-
ples, 1772 ; La finta giardiniera (La baro-
nessa giardiniera), Naples, 1767 ; Mazzina,
Acetone e Dindimenio, ib., about 1767 ;
Didone abbaudonata, ib., about 1767 ; La
125
PICCIONI
donna di spirito (La locandiera di spirito),
ib., 17G8 ; Gli amanti mascherati, ib., about
1768 ; Gli stravagauti, ib., 17G9 ; Gli sposi
perseguitati, ib., 17G9 ; Don Chisciotto, ib.,
1770 ; Catone in Utica, ib., 1770 ; Cesare e
Cleopatra (Cesare in Egitto), Milan, 1770 ;
L' Americano ingentUito, Vienna, 1770, and
Naples, 1772 ; Lo sposo burlato, Vienna,
1771 ; Antigono, Eomo, 1771 ; La donna
di beir umore, Naples, 1771 ; L' Olimpiade
(second setting), ib., 1771 ; La corsara, ib.,
1772 ; Ipermeslra, ib., 1772 ; Le trame zin-
garescbe, ib., 772 ; 11 finto pazzo, ib., 1772 ;
L' ignorante astuto, ib., 1773 ; I furbi bur-
lati, ib., 1773 ; La sposa collerica, ib., 1773 ;
11 ritorno di Don Calandrino, ib., 1771; ; I
Napoletani in America, ib., 1774:; II vaga-
bondo fortunato, ib., 1774 ; Alessandro nell'
Indie (second setting), ib., 1775 ; Lequattro
nazioni, ib., 1775 ; Le gemelle, ib., 1775 ; H
sordo, ib., 1775 ; Eneain Cuma, ib., 1775 ;La
capricciosa, ib., 1776 ; Radamisto, ib., 1776 ;
1 viaggiatori felici, ib., 1776 ; Roland, Paris,
Opera, Jan. 27, 1778 ; Pbaon, CLoisy, at
court, 1778 ; Le fat mepriso, Pims, Como-
die Italiennc, 1779 ; Atys, ib., Acadumie
Eoyale dc Musique, Feb. 22, 1780 ; Iphi-
genie en Tauride, ib., ib., Jan. 23, 1781 ; AdUe
de Pontbieu, ib., ib., Oct. 27, 1781 ; Didon,
ib., ib., Dec. 1, 1783 ; Le faux lord, ib., Oix'ra
Comique, Dec. 6, 1783 ; Le dormeiu- oveillo,
ib., Comedie Italicnne, 1784 ; Diane et En-
dymion, ib., Acadumie Royale de Musique,
Sept. 7, 1784 ; Lucette, ib., TbOatre Italien,
Dec. 30, 1784 ; I decemviri (not performed,
written about 1785) ; Penelope, Paris, Aca-
demie Eoyale de Musique, Dec. 6, 1785 ; Le
mensonge officieux, ib., Comedie Italienne,
Marcb 17, 1787 ; L'euluvemeut dea Sabiues
(not performed, written in 1787) ; Clytem-
nestre (id., 1788) ; Les fourberies de Marine,
Paris, 1790 ; La Ceccbiua zitella (not per-
formed, written in 1790) ; La Vittoriua (id.,
about 1790) ; La serva onorata, Naples,
1792 ; Ercole al Termodonte, ossia la dis-
fatta delle Amazzoni, ib., 1792 ; Griselda,
Venice, 1793 ; D servo padrone, ib., 1793 ;
Lo sposalizio di fciau Pomponio, ?, about
1795 ; n finto Tureo (not performed, written
about 1795) ; II Tigraue (id., about 1795).
n. Church music : Laudate, for live voices
and orchestra ; Laudate, for two soprani,
bass, and chorus ; Beatus vir, for soprano and
chorus ; and Pater noster, for soprano and
orchestra. The scores of nearly sixty of
Piccinni's operas were found at a second-
hand clothier's in Naples by Signor Florimo,
librarian of the Collegio reale di Musica di
San Pietro a Majella, at Najsles. — Ginguene,
Notice sur la vie et les ouvrages de N. Pic-
cinni (Paris, 1801) ; Desnoiresterres, Gluck
et Picciuui (Paris, 1872; 2d ed., 1875);
Clement, Mus. cclebres, 108 ; Fctis, vii. ;
Eiemann ; Mendel.
PICCIONI, GIOVANNI, organist of the
cathedral at Orvieto at the end of the 16th
and beginning of the 17th century. "Works :
Madrigali a cinque voci (Venice, 1596) ; E
pastor fido musicale (ib., 1602). In the
library of the Liceo Musicale at Bologna
are : Concerti ecclesiastiei et Motetti a
1-8 voci (\'enice, 1610) ; do., op. 21 (Rome,
1619).— Fetis ; Mendel.
PICHEL (Piehl), VACLAV (Wenzel),
born at Bechin, Bohemia, in 1740, died in
Vienna, Jan. 23, 1805. Violinist, pupil of
Johauu Pokorny, and, while studying at
Prague University, of Segert in counterpoint.
He was influenced also by Dittersdorf,
under whose auspices he joined the orches-
tra of the Bishop of Grosswardein. For
two years he was musical director to Count
Hartig in Prague, then became first violin
of the National Theatre in Vienna, until in
1775 he was ajjpointed compositore di mu-
sica to the Archduke Ferdinand in Milan.
He visited the chief Italian cities, and was
a friend of Nardini. "When the French oc-
cupied Lombai'dy in 1796, he returned with
the Archduke to Vienna. "Works ; 4 Latin, 1
German, 8 French, and 7 Italian operas ; 35
masses, 22 psalms, 9 offertories, and other
church music ; Cantata ; 29 concertos ; 3
concertiui ; 89 symphonies ; 17 serenades ;
30 sonatas ; 12 sonatinas ; 49 capriccios ; 6
fugues ; 224 variations ; 6 ariettas ; 64 duets ;
12«
PIELTAIN
39 trios ; 172 quartets ; 21 quintets ; 6
sextets ; 7 septets ; 7 octets : in all, 887
numbers, exclusive of 148 quartets, quintets,
and sextets, composed for Prince Esztcr-
hdzj. He made also a Bohemian transla-
tion of Mozart's ZauberflOte. — Dlabacz ;
Futis ; Mendel ; Gerber ; Schilling ; Wurz-
bacli.
PIELTAIN, DIEUD0NN15 PASCAL,
born in Liuge, March i, 1754, died there,
Dec. 10, 1833. Violinist, pujjil of Jarno-
wich, went to Piiris in 1778, and aj^peared in
the Concerts Spirituels for six years in suc-
cession. In 1784-93 he was violinist to
Lord Abiugton in London ; then visited St.
Petersburg, Warsaw, Berlin, and Hamburg
(1800), and returned to his native city.
Works : 13 concertos for violin ; 6 sonatas
for do. ; 6 quartets for strings ; 12 duos
for violins ; 12 airs varies for do. — Fetis ;
Mendel.
PIERO MIO, GO QUA UNA FRITOLA.
See Crhpino e la Comare.
PIEREE LE GRAND (Peter the Great),
comcdie in four acts, text by Bouilly, music
by Gretry, first rejiresented at the Italiens,
Paris, Jan. 13, 1790. Catherine H. of Rus-
sia is the heroine of the opera, which was
represented in Amsterdam in 1812. Other
operas on the same subject : Kaiser und
Zimmermann, Singspiel by K. Aug. von
Lichtenstein, Strasburg, 1814 ; Die Jugend
Peter desGrossen, Singsijiel, by Josef Weigl,
text by Treitschke, Vienna, Dec. 11, 1814 ;
Czar und Zimmermann, by Lortzing, Leii>
sic, Dec. 22, 1837, Berlin, 1854. In Italian,
Pietro il Grande, by Niccolo Vaceaj, Parma,
1824 ; by Mercadante, Lisbon, Dec, 17,
1827 ; II borgomastro di Saardam, oj^era
bufifa, by Donizetti, Naples, 1827 ; Pietro il
Grande, by Louis Antoiue Julien, London,
Aug. 17, 1852. In French, U^toile du Nord,
Paris, Feb. 16, 1854 ; and in English, by
Thomas Simpson Cooke, London, 1829.
PIEESON (Pearson), HENRY HUGO,
born in Oxford, England, April 12, 1816,
died in Leipsic, Jan. 28, 1873. Oi'ganist
and pianist, jDupil of At wood and Arthur
wmwm^
Corfe at Cambridge, and in Germany of C.
H. Rinck, Tomasehek, and Reissiger; had
much intercourse
with Mendelssohn,
and became ac-
quainted with
Meyerbeer, Sjiohr,
a n d Schumann.
He was elected in
1844 to the Reid
jjrofessorshij) of
music in the Uni-
versity of Edin-
burgh, succeeding
Sir Henry Bishop, but soon resigned and
returned to Germany, which he virtually
adopted as his country, changing his name
from Henry Hugh Pearson to that given
above ; he lived at first in Vienna, from 1847
in Hamburg, and afterwards at Leipsic.
Works : Der Elfensieg, opera, Briinn, 1845 ;
Leila, do., Hamburg, 1848 ; Contarini, ib.,
1872 ; Jerusalem, oratorio, comi^osed for
the Norwich Festival, September, 1852 ;
Hezekiah, do. (fragment), Norwich, 1869 ;
Music to the 2d part of Goethe's " Faust "
(1854), repeatedly performed at Hamburg.
Funeral March to "Hamlet ;" Several over-
tures ; Sacred songs, choruses, and songs.
Some of his earlier works appeared under the
pseudouyme of Edgar Mansfeldt. — Grove ;
Fetis ; Eiemann ; Mendel.
PIETA ! SIGNORE ! celebrated aria di
chiesa, for contralto, text from the second
stanza of Arsenio's aria in Alessandro Scar-
latti's oratorio, II martirio di Santa Teodosia,
Naples, 1709 (MS. in the Biblioteca Pala-
tina, Modena), music attributed to Ales-
sandro Stradella, whose authorship is
however, out of the question. Fetis, Nied-
ermeyer, and Rossini have been suggested
as the composers of this melody, but it is
more jirobablj' by Francesco Rossi. It was
sung by Miss Emily Winant at the Musical
Festival, New York, May 6, 1882.
PIETON, LOYSET (Louis), called Loyset
de Bernais, and Le Normand, born at Bernay,
Normandy, in the last quarter of the 15th
127
PIETEO
century. Contrapuntist, whose works, con-
sisting of motets, j)salms, and chansons, are
to be found in various collections of the
times, between 1531 and 1545 ; also in Pe-
trucci's Motetti della Corona (1519). — Futis ;
Mendel ; Kiemann.
PEETRO YON ALBANO, romantic opera
in two acts, text by Charles Pfeiffer, from
Tieck's novel of the same title, music by
Sjjohr, first rejiresented in Cassel, Oct. 13,
1827. It was admired by Meyerbeer. The
opera had only a temporary success. Pub-
lished by Schlesinger (Berlin, 1829) ; the
pianoforte score arranged by Ferdinand
Spohr. Same title, Italian opera by Apol-
loni, Venice, March 9, 1856. — Spohr, Auto-
biography, ii. 1G3 ; Allgem. mus. Zeitg.,
xsxi. 849 ; Berliner mus. Zeitg., vi. 193.
PIFF-PAFF, TRAQUONS-LES ! See
Huguenots,
PIGNATI (Pignata), Abbate PIETRO RO-
MULUS, born in Rome in 1660, died (?).
Dramatic composer ; wrote also most of the
librettos of his operas. Works : Costanza
vince il destine, Venice, 1695 ; iUmiro, re
di Corinto, ib. ; Sigismondo Primo, ib.,
1696 ; L' inganno senza danno, Treviso,
1697 ; Paolo Emilio, Venice, 1699 ; II vanto
d' amore, ib., 1700 ; Oronte in Egitto,
Udiue, 1705.— Fetis ; Mendel.
PIL.\TI (Auguste Pilate, called), born
at Bouchaiu (Xord), France, Sept. 29, 1810,
died in Pai'is, Aug. 1, 1877. Dramatic com-
poser ; studied at first at Douai, then at
the Conservatoire in Paris ; visited London
in 1837, became chef d'orchestre of the
Theatre de la Porte Saint-:\Iartin in 1840,
and later of the Theatre Beaumarchais.
"Works : La modiste et le lord, Paris, 1833 ;
La prova d' un opera seria. La fermiere de
Bolbec, 1835 ; Le-oua, ou le Parisian en
Corge, 1836 ; Le roi du Danube, London,
1837 ; OUvier Basselin, Paris, 1838 ; Made-
moiselle de Fontanges, Le naufrage de la
Mt-duse (with Grisar and Flotow), ib., 1839 ;
Les Farfadets, fairj'-ballet, 1841 ; Les bar-
ricades (with Eugene Gautier), 1848 ; Le
postilion de Saint- Valery, 1849 ; Les t'toiles, i
Les trois dragons, 1854 ; Les statues de
I'Alcade, ballet-pantomime, 1855 ; Jean le
sot, Une devinette, L' Amour et Psyche, 1856 ;
L'ile de Calypso, 1857 ; Peau d'ane, Ignace
le retors, II signor Cascarelli, 1858 ; L'ile du
sol-si-re, 1860 ; H maestro Blaguarino, Lille,
1865 ; Rosette et Colin, Paris, 1874 ; Les
liccheurs de Tarente, ib., 1886 ; Le nid
d'aigle, cantata, 1858. — Fetis ; do., Supple-
ment, ii. 57.
PILGRTMS' CHORUS. See Tannhau-
scr.
PILKINGTON, FRANCIS, EngUsh com-
poser of the 16th and 17th centuries. He
was a chorister in Chester Cathedral ; Mus.
Bac, O-xford, 1595. Works: The First
Booke of Songs or Ay res of 4 parts : with
Tableture for the Lute or Orpharion, with
the Violl de Gamba (1605) ; The First Set
of Madrigals and Pastorals of 3, 4, and 5
parts (1613) ; The Second Set of Madrigals
and Pastorals of 3, 4, 5, and 6 parts ; apt
for Violls and Voyces (1624). He contrib-
uted also, in 1614, two j)ieces to Leightou's
" Teares and Lamentacions." — Grove.
PILOTTI, GIUSEPPE, born in Bologna,
Italy, in 1784, died there, June 12, 1838.
Church composer, pupil of lilattei, and
member of the Accademia Filarmonica
when only twenty-one years of age. Hav-
ing been maestro di cappella at Pistoja
several years, he succeeded Mattel at San
Petronio, Bologna, in 1826, and was aj)-
pointed professor of counterpoint at the
Liceo Filarmonico in 1829. His numerous
compositions for the church remain in MS.
He wrote two operas : L' ajo uell' imbarrazzo,
given at Bologna, and Non essere geloso,
Florence, 1816. — Fetis; Mendel; Rie-
mann.
PINAFORE, H. M. S., English comic op-
eretta in two acts, text bj* Gilbert, music by
SuUivan, first represented at the Opera Co-
mique. Strand, London, May 25, 1878. The
action takes place ou Her Majesty's Ship
Pinafore, and turns on the fact of the
Captain and an officer, Ralph Rackstraw,
having been exchanged in infancy by the
r'"*"" ^-3*1
^''^>
•T*"'
tW-
»*i
fO>-'
PINELLI
bumboat woman, Little Buttercup,
nal cast :
Oiigi-
Captain Corcoran Mr. Barrington.
Sir Joseph Porter Mr. G. Grossmith.
Josephine Miss Howson.
Ealph Eackstraw Mr. Power.
Little Buttercup Miss Everhard.
This opera had an extraordinary success
in London, where it kept the stage for 700
consecutive nights ; and in New York,
where it was first given, Jan. 15, 1879, it
was performed at four theatres for months.
It was adopted throughout the United States
to a degree surpassing all previous records.
It was given under the direction of Gilbert
and Sullivan at the Fifth Avenue Theatre,
Dec. 1, 1879. Published by Metzler & Co.
(London, 1878) ; and by Oliver Ditson & Co.
(Boston and New York, 1879). — Atheuasum
(1878), i. 709 ; New York Tribune, Dec. 2,
1879.
PINELLI DE GERARDIS, GIOVANNI
BATTISTA, born, of noble family, in Genoa,
Italy, in 1545, died in Vienna, or in Prague,
June 15, 1587. Church composer, was cantor
at the Cathedral of Vicenza in 1571, and,
apparently in the imperial service, settled
at Prague before 1580, when he became
Kapellmeister to the Elector of Saxony
at Dresden, on the recommendation of
Emperor Eudolph 11. Constant disagree-
ments, caused by his violent tempei-, led to
his discharge in 1584, and a year later he
was again in the imperial service. Works :
VI. Misse a 4 voci (Dresden, 1582) ; Ger-
man Magnificats (ib., 1583) ; Madrigali a
piti voci (ib., 1584) ; Cantiones sacree, 8,
10 e 15 voci (ib., 1584) ; Newn kurtzweilige
teutsche Liedleiu mit 5 Stimmen (ib., 1584) ;
Libro primo de Neapolitane a 5 voci
(ib., 1585) ; Mutetti quinque vocum, etc.
(Prague, 1588) ; 18 Musettes for 5 voices
(ib., 1588).— Mendel.
PINELLI, ETTORE, born in Eome, Oct.
18, 1843, still living, 1890. Violinist, pu-
pil of Ramacciotti, and at Hanover (1864)
of Joachim ; returned to Rome in 18GG, and
with Sgambati founded a society for clas-
sical chamber music. He also established,
at the Accademia di Sta. Cecilia, a violin and
pianoforte school, out of which grew the
Liceo Musicale, where in 1877 he was ap-
pointed professor. He failed in 1867 in
his endeavour to found a Roman orchestral
society, but succeeded in 1874 in doing so.
He conducts the court concerts alternately
with Sgambati. "Works : Overture ; Italian
Rhapsody ; String quartet, etc. — Riemann.
PINO, ROSARIO ANTONIO, born at
Palermo, Dec. 19, 1850, still living, 1890.
Pianist, pupil of Ferdinando Valeute and of
Luigi Siri, and in composition of Salvatore
Lavigna, of Aspa, and of Battista ; apjicared
as a virtuoso from his fifteenth year, and
settled at Naples to teach his instrument.
Works : Le tre ore di agonia, oratorio, Na-
ples, 1867 ; Masses, vespers, overtures, etc.
— Futis, Supplement, ii. 347.
PINSUTI, Cavaliere CIRO, born at Asina-
lunga, Siena, May 9,
1829, died in Lou-
don, March 10, 1888.
Pianist and dramatic
composer, pupil of his
father ; played in pub-
lic at ten, and was
made an honorary
member of the Acca-
demia Filarmonica,
Bologna, at the age
of eleven ; he went to England with Henry
Drummond, and studied the pianoforte and
composition under Cipriani Potter, and the
violin with Blagrove. In 1845 he returned
to Italy and entered the Conservatorio at
Bologna, where he attracted the notice of
Rossini, and became his favourite pujjil.
He went to England again in 1848, and be-
came a singing teacher, dividing his time be-
tween London and Newcastle, where he
founded a musical society. He frequently
visited Italy, and brought out operas there.
He was professor of singing at the Academy
of Music, London, from 1856. Orders of
I Saint-Maurice et Saint-Lazarus, 1859, and of
129
PIOUS
the Italian Crown, 1878. He was selected
to represent Ital^- at the opening of the
International Exhibition in 1871, and com-
posed a bj-mn for that occasion to words by
Lord Houghton : " O people of this favoured
land." Works — Operas : H mercaute di
Venezia, Bologna, 1873 ; Mattia Corvino,
Milan, 1877 ; Margherita, Venice, 1882. Te
Deum, 1859 ; 35 duets ; 14: trios ; 45 part-
songs, and choruses ; About 250 English
and Italian songs, and 30 pianoforte pieces.
— Grove ; Fetis, Supplement, ii. 348 ; Eie-
mann ; Mendel, Erganz., 350.
PIOUS ORGIES, aria, with accompani-
ment of strings complete, and coutinuo, in
Handel's Judas Maccabicus, Act I. This
air, which is only twenty-seven measures
long, is sung first in E-flat major by Simon
(bass), and then repeated, after a short reci-
tative, either by An Israelitish Man (mezzo-
soprano), in F major, or else by An Israel-
itish Woman (sojirauo), in G major.
PIPELARE, ]\L\THIEU, born at Lou-
vain, flourished about the end of the 15th
and the beginning of the 16th centuries.
Contrapuntist ; signed his name usually with
a rebus composed of the word Pipe and the
notes la, ru. A mass of his composition is
to be found in Andreas de .\ntiquis Jlissa;
XV. (151G), and an Ave Maiia in Petrucci's
Book of motets (Venice, 1505) ; Georg
Ehaw's Biciuia (1545) also contains a few of
his works. Manuscripts by him are in the
royal libraries of Brussels and Munich.
— Fetis ; Riemann.
PIRATA, IL (The Pii-ate), Italian opera
in two acts, test by Romani, music by Bel-
lini, first represented at La Scala, Milan,
Oct. 27, 1827. Gualtiero, having lost his
ancestral estates, becomes chief of a band of
pii-ates. During his absence his betrothed,
Imogene, marries his enemy, Ernesto, Duke
of Calabria, to retrieve her father's fortune.
In the midst of a severe storm Gualtiero is
forced to seek refuge on shore, where he
discovers that Imogene has married. He
attempts to take the life of her son, but
yields to her entreaty to spare him, and
kills her husband instead. Gualtiero is
seized by the authorities, and Imogene be-
comes insane. This opera, written by Bel-
lini at the age of twenty, was received with
enthusiasm. The part of Gualtiero was
composed for Rubiui, who appeared in the
original cast. This work was first given in
Vienna, Feb. 25, 1828 ; in London, April
17, 1830 ; in Berlin, Aug. 31, 1831 ; in New
York, Dec. 5, 1832 ; and in Paris, Feb. 1,
1832, with Rubiui, Santini, and Mme Schro-
der-Devrient, and in 1846 with Mai-io, Co-
letti, and Mile Grisi, who was very suc-
cessful as Imogene. Published by Ricordi
(Milan). — Allgem. mus. Zeitg., xxxiii. 630 ;
Clement et Larousse, 534 ; Harmonicon
(1830), 222.
PIRATES OF PENZANCE, THE, Eng-
lish comic opera in two acts, text by Gilbert,
music by Sullivan, first represented at the
Fifth Avenue Theatre, New York, Dec. 31,
1879, under the composer's direction. Act
I. is placed in the Pirates' lair on the coast
of Cornwall. Frederic, having been ap-
prenticed to the Pirates by mistake, at the
close of his indenture resolves to war against
those whom he loves as companions, but
hates as Pirates. He discovers that he was
born on leap-year, and instead of being
twenty-one is but four and a half years old,
and must therefore remain in the band.
The Pirates, who never rob oi-phans, find
that Major-General Stanley, whose daughter
Mabel is betrothed to Frederic, deceived
them into thinking him an oi-phan, and re-
solve to attack his home. Act H. is in a
ruined chapel on the General's estate, where
the Policemen and Pirates meet, and con-
spicuously enjoin silence, affecting uncon-
sciousness of each other. Gen. Stanley en-
ters, thinking he heard a noise, and after
him his five and twenty daughters. The
Pirates rush for them, but are caj)tured by
the Policemen. They yield instantly at the
mention of Queen Victoria's name, and, on
discovering that they are all noblemen.
Gen. Stanley gives them all permission to
marry his daughters. This opera was first
130
PISANI
given iu London, April 3, 1880. Published
by Cbappell & Co. (London, 1880).— New
Yoric Tribune, Dec. 28, 1879, Jan. 1, 1880 ;
Atbenffium (1880), i. 479.
PISANI, BARTOLOMEO, born at Con-
stantinople iu 1811, still living, 1890. Dra-
matic comjjoser, pupil of Mercadante, was
chef d'orchestre of the Naoum Theatre, at
Constantinople, in 1859, visited France in
18G0, and brought out in Paris several of
his compositions. Works : La peri ; Rosa-
munda ; Ladislao, given at Constantinople,
18G2 ; Rebecca, Milan, 186.5 ; La gitana,
Venice, 1876 ; Una lagrima sulla tomba di
Mercadante, funeral chant ; Patriotic hymn ;
Grande fantaisie for soli, chorus, and or-
chestra ; Songs and choruses, etc. — Fetis,
Supplement, ii. 3-19.
PISARI, PASQUALE, born in Rome
about 1725, died there in 1778. Church
composer ; made a close study of the works
of Palestrina, whom he adopted as a mod-
el ; called by Padre Martini the Palestrina
of the 18th century. The son of a poor ma-
son, he was possessed of a fine bass voice,
which a musician named Gasparino took
pleasure in cultivating ; and in 1752 he
was admitted into the Pontifical Chapel as
a supernumerary, a position he held until
his death. He studied counterjDoint under
Giovanni Biordi, and composed much church
music, which he was too poor to publish.
He wrote for the King of Portugal a Dixit
in sixteen real parts, and a complete service
for all the year, but the payment was so
long deferred that when it reached Rome
Pisari was dead. The Dixit was sung at
the SS. Apostoli, Rome, bj' 150 musicians.
Burney, who heard it, speaks of the learn-
ing displayed in it. Works : Miserere in
9 parts (1777) ; Masses, psalms, motets, in 8
parts ; 2 Te Deum, one for 8, the other for
4 voices. Many of his compositions are in the
Santiui Collection, including a Dixit, a Mi-
serere, a mass, psalms, and motets. — Grove ;
Fetis ; Riemann ; Mendel ; Schilling.
PISENDEL, JOHANN GEORG, born at
Karlsburg, Transylvania, Dec. 26, 1687,
died at Di-esden, Nov. 25, 1755. Virtuoso
on the violin, pupil of Pistocchi and Torelli
at Ansbach, where he was a choir-boy in
the Margi-ave's chapel. In 1709 he went to
Leipsic, to study at the university, but
seems to have devoted himself entirely to
music even then, as he succeeded Mel-
chior Hofmann as Kapellmeister in the new
church, and at the opera in 1710-12. In
1712 he entered the Elector's orchestra in
Dresden, and was thence often sent abroad
in the suite of the Electoral Prince ; to Paris
in 1714, to Venice in 1716, when he studied
under Antonio Vivaldi, to Rome and Naples
in 1717, and to Vienna in 1718. In Rome
he took lessons of Antonio Montanari. He
accompanied the king to Berlin in 1728, and
in the same year succeeded Volumier as
Conzertmeister. Works : 8 concertos for
violin ; Soli for do. and bass ; Concertantes
for 2 oboes with string instruments ; Con-
certi grossi, etc., aU in the royal library,
Dresden. — Fetis ; Mendel ; Schilling.
PISTOCCHI, FRANCESCO ANTONIO,
born in Palermo, Sicily, in 1659, died after
1717. Dramatic composer, jjupil of his
father ; learned composition so readily that
at the age of eight he jiublished, Capricci
puerili variamente composti in 40 modi, etc.
(Bologna, 1667). He studied singing under
Padre Vastamigli and Bartolomeo Monari,
went on the stage as a soprano singer, but
soon abandoned it, and became maestro di
cappella of San Giovanni in Monte, Bologna.
He entered the Oratorio order as a j^riest,
and iu 1697 was called to the court of Ans-
bach as Kapellmeister ; returned to Italy
by way of Vienna and Venice in 1699.
Although a composer of merit, he is best
known from having founded at Bologna, in
1700, a school of singing in which were
educated some of the great singers of the
first half of the 18th century, among them
Bernacchi, Minelli, Pio Fabri, and Bertoliuo
da Faenza. Member of the Accademia Fi-
larmonica, 1692 ; principe in 1708 and 1710.
Works — Operas : Narciso, Ansbach, 1697 ;
Le risa di Democrito, Vienna, 1700 ; Le-
131
PITONI
audro, 1679 ; II girello, 1681. Oratorios :
II martirio di S. Adriano, Venice, 1697 ;
Maria Vergiue addolorata, 1698 ; La fuga
di Sta. Teresia, 1717. Scherzi musicali, a
collection of Frencb, Italian, and German
airs (Amsterdam) ; The Psalm, Lauda
Jerusalem, for five voices and basso con-
tinuo, in MS. — Fetis ; Riemann ; Mendel;
Gerber.
PITONI, GIUSEPPE OTTA\^0, born at
Kieti, Italy, March 18, 1657, died in Home,
Feb. 1, 1713. Church composer, jjupil of
Pompeo Natale from the age of five, succes-
sively chorister at San Giovanni de' Fioren-
tini and the SS. Apostoli, Rome, from the
age of eight. He attracted the notice of
Foggia, who gave him lessons in counter-
point for several years. He was maestro di
cappella at Terra di Eotondo, 1G73, and in
1674 at Assisi, where he began to write out
Palestrina's works in score to study his style,
a practice he afterwards enjoined on his pu-
jjils. Having removed to Eieti in 1676, he
became in 1677 maestro di cappella of the
Collegio di San Marco, Rome, a post he
retained till his death, although engaged,
besides, in the same cai^acity at San Apol-
linare, 1686 ; San Lorenzo in Damaso, 1686 ;
S. Giovanni in Laterano, 1708 to 1719 ; St.
Peter's, 1719, and several minor churches.
His pupils were Durante, Leo, and Feo.
Works : Dixit in 16 jsarts (highlj' praised
by Baini ; one of the finest pieces of music
still sungat St. Peter's during Holy Week) ;
and his masses, Li pastori a Maremme, Li
pastori a Montagna, and Mosca, founded
on popular melodies, ai-e still fresh. He
wrote upwards of sixty masses and psalms,
complete services for St. Peter's for the
entire year, and many pieces for six and
nine choruses ; 3 Masses, 2 Dixit, and a
number of motets in the Santini Collection ;
a mass, a Requiem, 6 motets, a psalm, a
hymn, a Christus factus est, in Proske's
" Musica Divina." He compiled a history of
the maestri di cappella of Rome from 1500
to 1700, the MS. of which, now in the Vati-
can Library, was used by Baini in his life
of Palestrina. He left also, in MS., Guida
armonica, which is unfortunately lost. His
studies in counterpoint, written for his pu-
pils, are preserved in MS. in several of
the best musical libraries of Italy. — Fetis ;
Grove ; Riemann ; Mendel ; Schilling.
PITSCH, K.^EL FRANTISEK, born at
Patzdorf, Bohemia, Feb. 5, 1786, died in
Prague, June 13, 1858. Organist and pi-
anist, first instructed by his father, then at
Glatz, Silesia, jiupil of Otto ; jjlayed the or-
gan when only eight yeai-s of age. He stud-
ied also in Prague, whither he returned after
having been a tutor in the family of a noble-
man in Moravia, in 1815-25 ; was appointed
in 1832 organist at St. Nicholas, in 1810 pro-
fessor at the Conservatorium, and in 1841
director of the organists' school. Among
his compositions, most of which remain in
MS., are a Festival Mass in D ; Te Deum ;
Graduale ; Vocal Requiem ; Preludes, fu-
gues, etc., for the organ ; and many instruc-
tive pieces. — Slovnik nauSn^ (Prague, 1859),
vi. 402 ; Wurzbach.
PITTORE PARIGINO, IL (The Parisian
Painter), Italian opera buffa in two acts,
by Cimarosa, first represented in Rome in
1783. A quartet from this opera, in which
the Grand Duchess and Prince of Tuscany
sang, was performed at Leghorn during
Cimarosa's visit to the Grand Duke of
Tuscany in 1789.
PIU NON CERCA LIBERTA, alto aria
of Arcane, in F major, with accompaniment
of flutes and violins in oct.aves, and bass, in
Handel's Teseo, Act HI., Scene 1. Pub-
lished also separately, with the accompani-
ment filled out by Otto Dresel (Lei^Jsic,
Breitkopf & Hiirtel).
PIU NON SI TROVANO, canzonet in F,
for two soprani and a bass, with accompani-
ment of two basset horns, text from Metas-
tasio's Olimpiade, music by Mozart, com-
posed in Vienna, July 16, 1788. Breitkopf
& Hiirtel, Mozart Werke, Serie 6, No. 41.
— Kochel, Verzeichniss, No. 549.
PIUTTI, CARL, born at Bad Elgersburg,
Thuriugia, in 1846, still living, 1890. Vir-
132
PIXIS
tuoso on the organ, pupil of tbe Conserva-
toriums at Cologne and Leif)sic ; from 1875
instructor at the latter, and since 1880 or-
ganist of the Thomaskirche. He has com-
posed concertos, fugues, and other music
for the organ, pianoforte pieces, and songs.
— Mendel, Ergilnz., 351.
PIXIS, FKIEDRICH ^VILHELM, born
at Mannheim in 178G, died in Prague, Oct.
20, 1842. Violinist, sou of Friedrich Wil-
hclin Pixis (organist, died after 1805), pu-
pil of Kitter, Luigi, and Frilnzel, and later
received advice from Viotti. He made con-
cert tours with his brother, Johann Peter,
joined the court band of Mannheim in
1804, and afterwards became professor at
the Conservatorium and Kapellmeister of
the theatre at Prague. Works : Concertino
for violin and orchestra ; Variations for do.,
etc. — Fetis ; Wurzbach ; Schilling ; Ger-
ber ; Wasielewski, Die Violiue, 190.
PIXIS, JOHANN PETER, born at Mann-
heim in 1788, died at Baden-Baden, Dec.
21, 1874. Pianist, brother of the preced-
ing, with whom he travelled ; then lived in
Munich and Vienna, and settled in 1825
in Paris to teach. He educated his adopted
daughter, Franzilla P. Giihringer, as a singer,
accompanied her on her professional tour
through Germany and Italy, and after her
marriage retired to Baden-Baden. "Works
— Operas: Bibiaua, Paris, 1831 ; Die Sin-a-
che des Herzens, Berlin, 1836. Symphony ;
Trios, quartets, and quintets ; Concertos,
sonatas, fantasias, variations, and other
pieces for pianoforte. — Fctis ; Mendel ;
Gerber ; Schilling.
PIXIS, THEODOE, born in Prague,
April 15, 1831, died at Cologne, Aug. 1, 1856.
Violinist, son of Friedrich Wilhelm Pixis,
pupil at the Conservatorium at Prague,
afterwards of Vieuxtemps at Cannstadt,
having previously visited Paris with his
uncle, Johann Peter Pixis ; he made suc-
cessful concert tours through the Rhine
countries, and afterwards played in Frank-
fort, Hanover, Berlin, etc., and in 1850 was
appointed professor at the Conservatorium
in Cologne. He made successful visits to
Holland in 1853, and to Paris in 1855.
Works : Concert-Fantasias for violin and
oi'chestra ; Variations for do. ; Soli for vio-
lin and pianoforte ; Songs. — Wurzbach.
PLAIDY, LOUIS, born at Hubertsburg,
Saxony, Nov. 28, 1810, died at Grimma,
March 3, 1874. Pianist and violinist, pu-
pil of Agthe and, on the violin, of Haase.
He taught in Dresden, played the violin in
Leipsic, and, after giving attention more
especially to the pianoforte, was chosen
in 1843 by Mendelssohn as instructor at
the Leipsic Conservatorium, where he re-
mained until 1865, when he became a private
teacher. He was wonderfully successful in
developing the technical execution of his
pupils. Works : Technische Studieu fiir
das Pianofortesjsiel, now a standard text-
book in music schools. He was the author
also of Der Klavierlehrer (1874), translated
by F. L. Bitter as the " Pianoforte Teacher's
Guide," and by John S. Dwight as the
" Piano Teacher." — Riemauu ; Grove; Men-
del ; Fetis, Supplement, ii. 350.
PLAINTE DES DAMNES, LA (Com-
plaint of the Damned), cantata for three
voices, two violins, and organ, by Carissimi.
It is very celebrated. The MS. is in the
National Library, Paris.
PL.mQUETTE, ROBERT, born in Paris,
July 21, 1850, still living, 1890. Pianist
and dramatic composer, pui^il at the Con-
servatoire, and for a short time of Duprato.
He began writing chansons and chansou-
nettes for the cafes-chantants, and, having
acquired popularity, composed several op-
erettas, and in 1877 produced his first well-
known oi^era, Les cloches de Corneville,
which was given more than 400 times in
succession, and became as popular in Lon-
don as in Paris. Works : Mefie-toi de
Pharaon, 1872 ; Le serment de Mme
Grogoire, 1874 ; Paille d'avoine, 1874 ; Les
cloches de Corneville, 1877 ; Le chevalier
Gaston, Le peage, 1879 ; Les voltigeurs
de la XXXH., 1880 ; La cantiniere, 1880 ;
Itqj van Winkle, 1882 ; Nell Gwyune, 1884 ;
lo3
PLANTADE
Surcouf, comic opera, 1887 ; Paul Jones,
do., London, 1880 ; Songs and instru-
mental music. — Ft'tis, Supi^lement, ii. 357 ;
Grove ; Kiemanu.
PLANTADE, CHARLES HENRI, born
at Poutoise (Seine-et-
'"" Oise), Oct. 19, 17C4,
died in Paris, Dec. 18,
1839. He was ad-
mitted at the age of
eight to the school of
the king's pages de
musique, where he
learned singing and
the violoncello. On
leaving the king's ser-
vice he studied singing
and composition under Langlo, pianoforte
under Hiillmandel, and the harp under Pe-
trini. He was professor of singing at Mine
Campan's celebrated school at Saint- Denis,
and there instructed Hortense de Beauhar-
nais, who afterwards, as Queen of Holland,
appointed him kapelmeester at her court.
Plantade resigned his position of professor
at the Conservatoire, which he had held
from 1802, in company with Garat, to ac-
cept this new honour, but on the king's ab-
dication he was forced to return to Paris,
where he resumed his position in 1815, was
dismissed in ISIG, reinstated in 1818, and
finally retired in 1828. In ISIG he suc-
ceeded Persuis as maitre de chapelle to
Louis XVlLL, who in 1814 had decorated
him with the Legion of Honour. His best
pupil was Mine Cinti-Damoreau. Through
the revolution of 1830 he lost all his offices,
and retired to Batignollcs. Works — Op-
eras : Les deux sanu-s, 17!)1 ; Les souliers
mordorc'S, 1793 ; Au plus brave la plus belle,
1794 ; Palma, ou le voyage en Groce, 1797 ;
Romagnesi, 1799 ; Le roman, 1799 ; Zoo,
ou la pauvre petite, 1800 ; Lisez Plutarque,
1800 ; Bayard a la Fertc, 1811 ; Le mari
de circonstauce, 1813 ; Scc'ue lyrique, 1814 ;
Blanche de Castille (with Habeneck). Five
masses ; Requiem ; Motets ; Te Deum ;
Sonata for harp ; 20 collections of ro-
mances ; 3 do. of nocturnes for 2 voices.
— Fotis ; Mendel ; Riemann.
PLATANIA, PIETRO, born at Catania,
Sicily, April 5, 1828, still living, 1890. Dra-
matic composer, pupil of Carmelo Messina
on the pianoforte, and of Vicenzo Abatelli
in composition, then at Palermo of Rai-
mondi. In 18G3 he was appointed director
of the Conservatorio at Palermo. Member
of the Accademia di Sta. Cecilia, Rome.
Order of Saint-Maurice et Saint-Lazare, and
of the Italian Crown. Works — Operas:
Matilda Bentivoglio, Palermo, 1852 ; Pic-
carda Douati, ib., 1857 ; La vendetta slava,
ib., 18(55 ; GiulioSabino. Funeral symphony
on the death of Pacini, 18G8 ; Ode-symphony
for chorus, orchestra, and military band,
1878 ; Hymn to the queen, 1878. — Fetis,
Supplement, ii. 353.
PLATEL, NICOLAS JOSEPH, born at
Versailles in 1777, died at Brussels, Aug.
25, 1835. Virtuoso on the violoncello, pu-
pil of Louis Du230rt and of Lamare, entered
in 179G the orchestra of the Theatre Fey-
deau, but in 1797 followed an actress to
Lyons, and did not return to Paris until
1801, when he was considered the best
violoncellist there. In 1805 he made a
concert tour, sojourning in several minor
cities, and in 1813 became first violoncellist
at the 023era in Antwerp ; in 1824 he went
in the same capacity to Brussels, where in
1831 he was appointed also professor at the
Conservatoire. Works : G concertos for vi-
oloncello, and orchestra ; 3 sonatas for
violoncello, with bass ; 6 airs varies for
violoncello ; Caprices or preludes for do. ;
3 trios for strings ; 6 duos for do. ; G ro-
mances, with pianoforte. — Fctis ; Mendel ;
Riemann.
PL.\TT, CHARLES EASTON, born, of
American parentage, in Waterbury, Con-
necticut, Oct. 13, 185G, still living, 1890.
He studied in Boston, in 1875-7G, the or-
gan under Eugene Thayer, then, at the New
England Conservatory of Music, pianoforte
under Joseph A. Hills, S. A. Emery, and B.
J. Lang, and harmony under S. A. Emery ;
134
PLAUSI
and on his return to Waterbury, the organ
under Julius Baier, Jr. In 1877 he went
to Europe, and studied the organ under
August Haupt, the pianoforte under H.
Ehrlieh, KuUak, and Oscar Raif, and mu-
sical theory and composition under F. Kiel,
W. Bargiel, and Franz Neumann ; during
two summers, also, he was a pupil of Liszt
at Weimar. Eeturning to America in 1882,
he became a teacher in the Detroit Con-
servatory of Music, which position he still
holds. He is a member of the Music
Teachers' National Association. Works :
Variations for string quartet, in D minor ;
Theme and variations, in B minor, for pi-
anoforte, violin, and violoncello ; Sonata in
4 movements, for pianoforte ; Also waltzes,
nocturnes, mazurkas, and other pianoforte
music.
PLAUSI ALL' INCLITO SEVERO. See
Poliulo.
PLEYEL, CAIVIILLE, born in Stras-
burg, Dec. 18, 1788, died in Paris, May
4, 1855. Pianist, son and pupil of Ignaz
Josef Pleyel ; received instruction also
from Dussek. He lived a while in London,
then went to Paris, and entered the piano-
forte making firm of Pleyel & Co., estab-
lished by his father, in which the pianist
Kalkbrenner also became later a partner.
Works : Quartet f or jsianoforte and strings ;
3 trios for do. ; Sonatas for pianoforte and
violin, or violoncello ; Pianoforte duet ;
Nocturnes, rondos, fantasias, and other com-
positions for jjianoforte solo, and with ac-
companiment. His wife, Marie Felicite
Denise (born Moke, 1811-75), was a cele-
brated pianist, and in 1848-72 professor at
the Conservatoire of Brussels. — Fetis ; Men-
del.
PLEYEL, IGNAZ JOSEF, born at Rup-
pertsthal, near Vienna, June 1, 1757, died
on his estate near Paris, Nov. 14, 1831. In-
strumental composer, pupil of Wanhall on
the isianoforte, and of Haydn, under whose
entire care he was placed for five years by
Count Erdody. In 1777 the count made
him his Kapellmeister, but allowed him to
In 1792 the society
study four years longer in Italy. After his
return to Vienna, in 1781, he soon went
again to Rome, and
in 1783 accepted the
position as second
Kapellmeister at the
Minster of Stras-
burg, became first
Kaj)ellmeister in
1780, but was de-
prived of his jjost
by the Revolution,
which abolished the
Christian religion,
of Professional Concerts called him to Lon-
don, to compete against Haydn's sympho-
nies, produced in Salomon's concerts ; the
enterprise was successful, but the Profes-
sional Concerts ceased after a few years, and
Pleyel bought and retired to some prop-
erty near Strasburg. Annoyed and sus-
pected by the revolutionary authorities, he
sold his property and removed to Paris in
the beginning of 1795, and established a
music trade, and later a pianoforte factory,
becoming a business man exclusively, and
abandoning composition. The last years of
his life he spent on an estate near Paris,
devoting himself to agriculture. Works :
29 symphonies ; Septet for strings, 2 horns,
and double bass ; Sextet for strings ; 5
quintets for do. ; 45 quartets for do. ; Trios
and duos for do. ; 6 quartets for flute and
strings ; 2 concertos for pianoforte ; 2 do.
for violin ; 4 do. for violoncello ; 7 sym-
phonies concertantes for 2 violins, for string
and wind instruments, for pianoforte and
violin ; Sonatas for pianoforte, violin, and
violoncello ; 12 do. for jjianoforte, etc.- — Fe-
tis ; Gerber ; Mendel ; N. Necrol. der D.
(1831), ii. 967 ; Riehl, Mus. Charakterkopfe,
i. 238 ; Schilling ; Wurzbach.
PLUS BLANCHE QUE LA BLANCHE
HERmNE. See Huguenots.
PLUS ULTRA, sonata for pianoforte, in
A-flat, by Dussek, op. 71, called also " Le
retour a Paris," published by Cianchetti
and Sperati (London, 1808). It is dedi-
135
PLUTUS
cated to " Non plus ultra," a sonata for the
pianoforte, in F, by Joseph Woelfl, op. 41,
closing with variations on the air, " Life
let us cherish " (a favourite German song,
words by Martin Usteri, of Zurich, music by
Hans Georg Niigeli, 1793), which was dedi-
cated to Miss E. Binney, and pubHshed by J.
Lavenu (London, 1800). It was intended to
show that mechanical skill could go no fur-
ther, and Dussek's was an answer. — Grove,
iii. 4.
PLUTUS, opora-comique, text by Mil-
laud and Jolives, after Ai-istof)hanes, mu-
sic by Charles Lecocq, represented at the
0]X'ra Comique, Paris, March 31, 1886.
POEME DAMOUR (Poem of Love),
cycle of songs for voice and pianoforte,
test by Paul Robiquet, music by Massenet.
Sis numbers. Published by G. Hartmann
(Paris, 1879).
POEME D'AVRIL (Poem of April), cycle
of songs for voice and pianoforte, text from
Armaud Silvestre's " Mignonne," music
by Massenet, in eight numbers. Dedicated
to Ernest Reyer, and published by G. Hart-
mann (Paris, 1878).
POEME DHR^ER (Poem of Winter),
cycle of songs for voice and pianoforte, text
bj' Ai'mand SUvestre, music by Massenet.
Published by G. Hartmann (Paris).
POEME b'OCTOBRE (Poem of Octo-
ber), cycle of songs for voice and piano-
forte, test by Paul Collin, music by I\Ias-
senet. Prelude and five numbers. Dedi-
cated to Ernest Ht'bert, and jniblished by
G. Hartmann (Paris).
POEME DU SOUVEXm (Poem of Re-
membrance), text by Armand Silvestre,
music by Massenet. Six numbers, the last
of which is an ejsitaph. Dedicated to Mrs.
Charles Moulton, and published by G. Hart-
mann (Paris).
POEIME PASTORAL, scenes forvoice and
pianoforte, text by Florian and Armand
Silvestre, music by Massenet. I. Pastorale
avec choeur ; H. Musette ; IH. Aurore ; IV.
Paysage ; V. Crepuscule ; VI. Adieus :\ la
jirairie. Published by G. Hartmann (Paris).
POET AND PEASANT. See Dichter und
Bauer.
POETE ET LE MUSICIEN, LE, French
opera-comique in three acts, text by Du-
paty, music by Dalayrac, first represented
at the Theatre Feydeau, Paris, May 30,
1811.
POHLENZ, CHRISTIAN AUGUST, bom
at Saalgast, Nether Lusatia, July 3, 1790,
died in Leij^sic, March 10, 1843. Organist
of the Thomaskirche in Leipsic, and con-
ducted the Gewandhaus concerts, until suc-
ceeded by Mendelssohn iu 1835, when he
still retained the direction of the Sinji-
akademie. "Works : Polonaises for piano-
forte ; Choruses for male voices, and songs,
some of which, especially his " Auf, Matrosen,
die Anker gelichtet," became very popular.
— Mendel ; Fetis ; Riemanu.
POISE, (JEAN ALEXANDRE) FERDI-
NAND, born at Nimes, June 3, 1828, still
living, 1890. Dramatic composer ; after tak-
ing his degree of Bachelier-es-lettres of Paris,
pupil at the Conservatoire, in 1850, of Zim-
merman and of Adolphe Adam for compo-
sition, and won in 1852 the second grand
prix. His first opera, Bonsoir, voisin,
given at the Theatre Lyrique iu 1853, had
an immediate success and was played one
hundred nights. He went to Italy and
Germany to follow the course prescribed
by the lustitut, and since then has been a
popular composer of operas played at the
best theatres of Paris. In 1872 he took the
musical prize of the Acadumie des Beaux-
Ai"ts, instituted by Baron Trt'mont. Works :
Les charmeurs. Theatre Lyrique, 1855 ;
Le the de Polichinelle, Bouffes Parisiens,
1856 ; Le roi Don Pudre, Opera Comique,
1857 ; Le jardiniergalant, ib., 1861 ; Lesab-
sents, ib., 1864 ; Les moissonneurs, cantata,
ib., 1866 ; Le coiTicolo, ib.,1868 ; Les deux
billets, Athem'e, 1870 ; Les trois souhaits.
Opera Comique, 1873 ; La surprise de
I'amour, ib., 1877 ; L'Amour medecin, 1880 ;
Le joli Gilles, 1884 ; Le medecin malgre
lui, 1887. — Fetis ; do.. Supplement, ii.
355.
1S6
POISOT
POISOT, CHARLES fMILE, born at I cinque voci concertati (ib., 1634) ; Motetti a
Dijon, France, Jul}' 8, 1822, still living, I voce sola e a duoi (ib., 1637) ; Messe a 5 e
1890. Pianist and -ivriter on music, pupil : 8 voci concertati, etc. (ib., 1639) ; Salmi
of Jules Senart, Louis Adam, Stamaty, and concertati a 3 e 5 voci ; do. a 8 voci (ib..
Tbalberg on the pianoforte, of Leborne in
counterpoint, and at the Conservatoire
(184:4-48) of Haluvy. He was one of the
founders of the society of composers in
Paris, created the Conservatoire at Dijon,
of which he was made director in 18G8,
and founded there in 1872 the society for
sacred and classical music. Works — Op-
eras : Lo paysan, given at the Ojicra Co-
mique, 1850 ; Le prince de Galles, 1854 ; Les
Sj)endlcrs ; Francesco. Parlor operas : Le
coin du feu ; La cle du secretaire ; Les res-
sources de Jacqueline ; Les terreurs de M.
Peters ; Eosa la rose ; Les deux billets.
Jeanne d'Arc, cantata ; Motets ; Stabat
Mater ; Requiem ; Trio for pianoforte and
strings ; Pianoforte pieces. He published
a Cours d'harmonie and Traite de contre-
point et fugue ; also Notice sur Jean-Philippe
Eameau (1864), and Notice sur Jules Mer-
cier (1869), etc. — Fctis ; do.. Supplement,
ii. 356.
POISSL, JOHANNNEPOjMUK,Freiherr
VON, born at Haukeuzell, Bavaria, Feb. 15,
1783, died at Munich, Aug. 17, 1865. Dra-
matic composer, pupil of Danzi. He was
appointed iutendaut of court music in 1823.
Works : Die Opernprobe, 1806 ; Antigone,
1808 ; Merope, 1810 ; Ottaviano in Sicilia,
1812 ; Aucassiu undNicolette, 1813 ; Athalie,
1814 ; Der Wettkampf zu Olympia, 1816 ;
Nittetis, 1817 ; Die Prinzessin von Provence,
1825 ; Der Untersberg, 1829 ; Der Erudte-
tag, oratorio ; Psalm xcv., for soli and
chorus ; Stabat Mater, 2 Miserere, etc. — Fe-
tis ; Riemann.
POLIDORI, ORTENSIO, church com-
poser of the seventeenth century, born at
Camerino, Papal States, about the middle
of the 16th centui-y. He was maestro di
cappella of the cathedral at Fermo about
1621, afterwards at Cbieti, Naples, and at
Pesaro. Works : Messe a 5 e 8 voci con
ripieni e 2 violiui (Venice, 1631) ; Salmi a
1641) ; do. in 2 cori, etc. (ib., 1646).— Fe-
tis ; Mendel.
POLIDORO, German opera by Karl
Heinrich Grauu, first represented in Bruns-
wick in 1726. This was the composer's
first of)era. Other operas of the same title,
in Italian, by Antonio Lotti, text by Pio-
vene, Venice, 1714 ; in French, by Battistin
Struck, text by the Abbe Pellegrini, Paris,
Feb. 15, 1720 ; in German, by Sigismund
von Rumling, Schloss Carlsberg, near Mu-
nich.
POLIUTO, Italian opera in three acts,
text by Cammarano, after Corneille's " Poly-
eucte," music by Donizetti, written for rep-
resentation in Naples in 1838, but forbidden
by the censorship. The libretto was sug-
gested by Adolphe Nourrit, who designed
the part of Poliuto for himself. The opera
was rearranged and given as Les martyrs,
Paris, April 10, 1840. First represented
in its original form at the Theatre Italien,
Paris, April 14, 1859, with this cast :
Poliuto M. Tamberlik.
Paoliua Mme Penco.
Severo M. Cojtsi.
Felix M. Patriossi.
Callistene M. Manfredi.
Nearco M. Soldi.
Poliuto was one of Tamberlik's best charac-
ters. The opera was first performed in New
York, Jan. 25, 1859, with Brignoli as Poli-
uto ; Amodio, Severo ; Barilli, Felix ; and MUe
Piccolomini as Paolina. Scene in Mitylene,
in the third century after Christ. Poliuto,
a Roman, has become a Christian, but hia
wife, Paolina, daughter of Felix, Governor
of Armenia, is not a convert. Severo, her
former lover, is sent by the Emperor Decius
to extirpate Christianity, and finds to his
grief that Paolina is married. Nearco, a
friend of Poliuto, is arrested and taken to
the temple of Jupiter, where he is ordered
lOT
POLLAEOLO
to disclose the names of bis Christian friends.
He refuses and is about to be executed,
when Poliuto enters, proclaims his faith,
and destroys the idols. He is taken to
prison, and Severe tries to save him. Felis
promises to f)ardon Poliuto if he will re-
nounce his religion, and Paolina takes
him this news, but whUe visiting him in
prison she becomes converted. The opera
closes in the amphitheatre, where the Chris-
tians, including Poliuto and Paolina, are
thrown to the wild beasts. The principal
numbers are : " D' un alma troppo fervida,"
and " Percho distolto giubilo," sung by
Poliuto and Paolina in Act I. ; the chorus
of greeting to Severo, " Plausi all' iuclito
Severo ; " his aria, " II piti lieto de' viventi ; "
Poliuto's aria, " Sfolgoro diviuo raggio ; "
the chorus, " Vieni ! ^deni al circo ; " and
the last duet of Poliuto and Paolina," II
suon deir arpe angeliche," one of Donizetti's
best compositions.- — Revue et Gaz. mus. de
Paris (1859), 128 ; Clement et Larousse,
537 ; Upton, Standard Operas, 98.
POLLAROLO, CARLO FRANCESCO,
born at Brescia in 1G53, died in Venice in
1722. Dramatic composer, pupil of Le-
grcnzi, who entered him in 1G65 as a singer
in the ducal chajjel of S. Marco. In 1G90
he was appointed organist of the second or-
gan and in 1G92 vice-maestro di cappella.
He was one of the most prolific and favour-
ite opera composers of his time ; at Venice
alone he brought out sixty-four operas in
1G8G-1721. Among those written for other
cities were : Antonino Pompeiano, Brescia,
1G89 ; Circe abbandonata, Piacenza, 1G92 ;
Ascanio, Milan, 1702 ; Arminio, Pratoliuo,
1703; L' eqnivoco, Rome, 1711 ; Amore in
gare col fasto, Rovigo, 1711 ; L'Astinomo,
Rome, 1719. Jefte, oratorio, Vienna, 1710,
and sevei'al other oratorios ; Fede, valore,
gloria e fama, cantata, 171G. His son An-
tonio (1G80-1750) succeeded him in 1723
at S. Marco, and Lotti in 1740 as first ma-
estro di cappella. He composed eight
operas for Venice, and some church music.
— Fetis.
POLLEDRO, GIOVANNI BATTISTA,
born at Casalmonferrato alia Piova, near
Turin, June 10, 1781, died there, Aug. 15,
1853. Violinist and composer, first in-
structed at Asti by Mauro Calderara and
Gaetano Vai, then at Turin by a musician
named Paris, and for a short time pupil
of Pugnani, who caused him to be ad-
mitted in the orchestra of the Teatro Regio
at the age of fifteen. He made his first
appearance in public in Turin in 1797, then
in Milan, 1801, and became first violin-
ist at Sta. Maria Maggiore at Bergamo in
1804. Beginning a long professional tour,
he remained five years in Moscow ; then
went to St. Petersburg, Berlin, and Dresden,
where he was Conzertmeister in 1814-
24 ; was recalled to Turin in 1824 by
the king to reorganize the Royal Chapeh
In 1844 he retired from public life. "Works :
8 concertos for violin and orchestra; Airs
varies for do. ; Trios and duos for string
instruments ; Mass for 4 voices and orches-
tra ; Miserere f<n- do. ; Sinfonia pastorale,
for full orchestra ; Concerto for bassoon
and orchestra. — Fetis ; do.. Supplement, ii.
357 ; Storia del violino in Piemonto (Turin,
1863) ; Hart, The Violin, 232 ; Wasielewski,
Die Violine, 108 ; Riemann ; Mendel ; Schil-
ling.
POLLINI, FRANCESCO GIUSEPPE,
born at Laybach, Carniola, in 17G3, died in
Milan, Sept. 17, 184G. Pianist, pupil of
Mozart in Vienna ; about 1793 he went to
Milan, where he studied composition under
Zingarelli. He wrote the opera buffa La
casetta nei boschi, 1798 ; and a cantata,
n trionfo della pace, 1801, on the occasion
of the Peace of Amiens. Soon after he
went to Paris, and on his return to Milan was
appointed professor at the newly founded
(1809) Conservatorio. He originated the
stj'le of playing a melody in the middle of
the kej'board, using the thumb of each hand
alternately, while the hands are also em-
ployed with elaborate passages above and
below it. This invention has been attribut-
ed both to Thalberg and to Parish- Alvars,
188
POLOI^IA
but it appears in one of PoUini's 32 Esercizi
in forma di toccata (1820), dedicated to
Meyerbeer, the music being written in
three staves. Works : Sonata, caprice and
variations, for two pianofortes (Milan) ;
3 sonatas for pianoforte ; Sonate facile,
for violin and pianoforte ; Introduction and
rondo, for jjiauoforte (i hands) ; Caprices,
toccatas, rondeaux-fantaisies, etc., for piano-
forte ; Stabat Mater, with Italian words,
for soprano and contralto, with 2 violins,
2 violoncellos, and organ ; Selma (from
Ossian), for soprano. — F6tis ; Grove ; Eie-
maun ; Schilling.
POLONIA, overture for orchestra, in C,
by Richard Wagner, written in 1832, but
not published. The score is in Bayreuth.
POLUS ATELLA, oratorio by Loewe,
written between 18J:8 and 18G0.
POLYEUCTE, French opera in five acts,
text by Jules Barbier and Michel Carr^', mu-
sic by Gounod, iirst represented at the
Marie Gabrielle Krauss.
Academie Royale de Musique, Paris, Oct.
7, 1878. The libretto is an adaptation of
Corneille's tragedy. Original cast :
Polyeucte M. Salamon.
Pauline Mile Krauss.
Severe M. Lasalle.
Published by Lemoine (Paris) ; by Fiirstner
(Berlin). Same subject, German opera, text
by Elmenhorst, after Corneille, music by
Johann PhUipp Fortsch, Hamburg, 1688 ;
and music to Corneille's tragedy, by Johann
Adam Scheibe, Leipsic, 1738. — Clement et
Larousse, 936 ; Huefter, Musical Studies,
213 ; Athenfeum (1878), ii. 442, 474 ; Si-
gnale (1878), 801.
POLYXftNE ; POLTXJ^NE ET PYR-
RHUS. See Achille et Polyxcne.
POMONE, ojiera or representation in
music, text by the Abbu Perrin, music by
Cambert, first represented at the Theatre
de la rue Guenegaud, Paris, March 19,
1G71. This was the first French opera
heard by the Parisian public, and it was
the first ojjera represented by the Acade-
mic Royale de Musique (1671). The story
is the mythological fable of Pomona and
Vertumnus. Characters represented : Po-
mone. Mile de Cartilly ; Vertumne, M. Beau-
mavielle ; Faune, M. Rossignol. Portions
of the oj)era were published by Ch. Ballard
(Paris). Other opieras of the same title :
In French, by Lacoste, about 1730 ; in Ger-
man, by Reinhardt Keiser, text by Postel,
Hamburg, 1702.— Lajarte, i. 19.
POMPEIA, symphonic fantasy for orches-
tra, by Jules Massenet, first performed at
the Casino, Paris, Feb. 24, 1866. I. Pre-
lude ; II. Hymne d'£ros ; HI. Choeur des
funerailles ; TV. Bacchanale. — Fetis, Sup-
plement, ii. 181.
POMPEH. See Dernier jour de Pompei.
PONCHARD, ANTOINE, born at Bussus
near Peronne, Picardy, in 1758, died in
Paris, September, 1827. Church composer,
received his first musical education as chor-
ister in a church at Pcronne, subsequently
in the cathedral at Liege. He was succes-
sively maitre de chapelle at Saint-Malo, and
of the cathedrals of Bourges and Auxerre.
About 1786 he went to Pont^le-Voy, and
became professor of music in the royal
college, but at the time of the Revolution
followed several callings to earn a living.
In 1803 he settled in Lyons, where he was
13'J
PONCniELLI
chef d'orchestre at the Grand Theatre. He
went to Paris in 1813 in order to be near
his son, a favourite singer at the Opera, and
in 1815 was aj^pointed maitre de chapelle
of Saint-Eustache. Works ; His church
music, consisting of 5 masses, a Kequiem,
considered his best work, psahus, etc., with
organ and orchestral accompaniment, re-
mains in MS. — Fetis ; Larousse.
PONCHDELLI, A:\nLCAEE, born at Pa-
deruo-Fasolaro, near
Cremona, Sept. 1,
1834, died in Milan,
Jan. IG, 188G. Dra-
matic composer, pupil
in 18-13-54 at the Con-
servatorio of Milan.
He lived in Piacenza,
where he was band-
master of a regiment ;
subsequently went to Cremona in the same
capacity. His first opera, I promessi sposi,
given at Cremona, 185G, and, in an altered
arrangement, at the new Teatro dal Verme,
Milan, 1872, won him popularity in Italy,
where he is considered second only to Verdi.
He was immediately engaged by the mana-
gers of La Scala to write a ballet in 7 acts,
and in 1873 Lo duo gemelle was brought
out at that theatre, with extraordinary suc-
cess. In 1881 ho was appointed maestro
di cappella of the cathedral at Bergamo.
Works — Operas : I promessi sposi, Cre-
mona, 185G ; La Savojarda, Cremona, 18G1 ;
Eoderico, re do' Goti, Piacenza, 18G-1 ; Ber-
trand de Born, ballet, Viterbo, 18G7 ; La
Stella del monte, 18G7 ; Clai-ina, ballet, Mil-
an, 1873 ; H parlatoro eterno, scherzo co-
mico, Lecco, 1873 ; I Lituani, MUan, 1874 ;
Gioconda, ib., 1876 ; Lina (a remodelled
edition of La Savojarda), ib., 1877 ; H fi-
gliuol prodigo, ib., 1880 ; Marion Delonne,
ib., 1885. A Gaetauo Donizetti, cantata,
Bergamo, 1875 ; H 29 Maggio, funeral march
to the memory of Manzoni ; Another funeral
march ; Fantasia militare ; Hymn in mem-
ory of Garibaldi, 1882 ; Eteruamente, ro-
mance for soprano, with pianoforte and
violoncello. — Fetis, Supplement, ii. 358 ;
Mendel, Ergiinz., 360.
POND, SYLVANUS BILLINGS, born
at Milford, Vermont, April 5, 1792, died in
Brooklyn, New York, March 12, 1871. He
went while young to Albany, where he en-
gaged in the musical instrument business ;
in 1832 ho removed to New York and asso-
ciated himself with Firth & Hall under the
firm name of Firth, Hall & Pond, which,
after several changes, became William A.
Pond & Co. He was leader of the choir at
the Brick Church, New York, and was at
one time director of the New York Academy
of Music and of the New York Sacred !Mu-
sic Society. He composed church music,
including several popular hymn tunes,
among them Armenia (1835) and Franklin
Square (1850), and compiled the following
collections : Union Melodies (1838), United
States Psalmodist (1841), and Book of
Praise of the Reformed Dutch Church (18GG).
PONLiTOWSKI, J(')ZEF MCHAL
XAWERY FRANCISZEK JAN, Prince of
Monte Rotondo, born in Rome, Feb. 20,
1806, died at Chiselhurst, England, July
3, 1873. Dramatic composer, and tenor
singer ; first taught by Candido Zanetti, a
priest ; and in Florence studied singing and
comjwsition under Ceccherini. He made
his di'but as a tenor singer at the Teatro
Standish in Florence, where in 1838 he pro-
duced his first opera, Giovanni da Procida,
in which he sang the title-role, and from
that time, for more than thirty years, wrote
ojieras for the theatres of Italy and Paris.
After the Revolution of 1848 he went to
Paris as plenipotentiary of the Grand Duke
of Tuscan^', and was made senator under the
empire. After Sedan he followed Napoleon
in. to England, and was on the eve of going
to America professionally, when he died.
Works — Operas : Don Desiderio, Pisa, 1839 ;
Ruy Bias, Lucca, 1842 ; Bonifazio dei Gere-
mei, Rome, 1844 ; I Lambertazzi, Florence,
1845 ; Malek-Adel, Genoa, 1846 ; Esmeralda,
Leghorn, 1847 ; La sposa d' Abido, Venice,
1847 ; Pierre de M6dicis, Paris, 1860 ; Au
140
PONS
travers du mur, ib., 1861 ; L'aventurier,
ib., 1865 ; La contessina, ib., 18G8 ; Gel-
mina, London, 1872. A mass in F, selec-
tions ijlayed at Her Majesty's Theatre, 1873.
His song, " The Yeoman's Wedding," was a
favourite in England. — Grove ; Fc'tis ; do.,
Supplement, ii. 360 ; Sowiiiski, 462 ; Mendel ;
do., Ergiinz., 361 ; Clement, Mus. Cel., 615.
TONS, J0Sl5, born at Gerona, Catalonia,
Spain, in 1768, died in Valencia in 1818.
Comjjoser of vilhancicos, or Christmas pieces,
and other church music, pupil at Cordova of
Jaime Baling. He was maestro de capilla
of the Cathedral of Gerona, and in 1793 ob-
tained the same jjosition at the Cathedral of
Valencia. He is considered by Eslava the
representative of the Catalan school, which
is entirely different from the Valencian.
His vilhancicos were veritable biblical dra-
mas, in the shape of oratorios with jsarts for
voices, orchestra, or organ ; they are said
to be still extensively performed in his own
country. Other works : Miserere for Holy
Week ; Eslava gives a letrilla of his, O
Madre, for 8 voices, in Lira sacro-hisiiana,
iv. — Grove ; Fetis ; Mendel.
PONTOGLIO, CIPKIANO, born at Gru-
mello del Piano, Italy, in 1831, still living,
1890. Dramatic composer, pu^jil of Antonio
Cagnoni. Works : Tebaldo Brusato, Bres-
cia, 1865 ; Don Prospero 1' ottimista, Flor-
ence, 1867 ; La schiava greca, Bergamo,
1868 ; La notte del Natale, ib., 1872 ; Eolla,
ballet, Naples, 1877. — Fetis, Supplement, ii.
361.
PONZIO, PIETRO, born at Parma, Italy,
March 25, 1532, died there, Dec. 27,
1596. Church composer and didactic
writer ; became maestro di cap23ella of the
cathedral at Bergamo in 1570, of Santa
Ambrosia in Milan, 1581, finally of the Cap-
pella della Steccata in his native city. He
is less known, now, by his compositions than
by his writings on music. Works : Mis-
sarum 4 voc. (Venice, 1578) ; Missarum
quinque vocibus (ib., 1580) ; do. (ib., 1581) ;
do. (ib., 1585) ; Psalmi vespertini totius anui
(ib., 1578) ; do. (ib., 1589) ; Motettorum
cum quinque vocibus (ib., 1582) ; Missarum
4 voc. (ib., 1584) ; Magnificat, ib., 1584 ;
MisscB 6 e 8 voc. (ib., 1590) ; Hymni solem-
niores ad vespertinas horas canendi (ib.,
1596). His theoretical works are : Ragio-
namenti di musica, etc. (Parma, 1588) ; Dia-
logo ove si tratta deUa teoria e pratica di
musica, etc. (ib., 1595). — Fotis ; Mendel.
POPOLI DI TESSAGLIA, recitative and
aria (lo non chiedo eterni), for soprano
with orchestra, in C minor and C, text from
Calzabigi's Alceste, music by Mozart, com-
posed for Aloysia Weber, in Munich, Jan.
8, 1779. Breitkopf & Hilrtel, Mozart,
Werke, Serie vi.. No. 19. — Kochel, Verzeich-
niss. No. 316 ; Andre, No. 76 ; Jahn, Mo-
zart, ii. 338.
POPP, WILHELM, born in Prague,
April 29, 1829, still living, 1890. Flute and
pianoforte virtuoso, jjupil of Drouet, C.
Kummer, and A. Spath. At first Hof-pian-
ist in Coburg, then travelled in Russia, and
since 1867 has lived in Hamburg, where he
is solo flute of the Philharmonic Society.
He has written more than three hundred
salon- and study-pieces for the pianoforte
and flute.
POPPER, DAVID, born in Prague, June
18, 1845, still living,
1890. Violoncellist,
pupil of Goltermann
at the Conserva-
torium in Prague ;
since 1863 has made
concert tours. He
received the appoint-
meutof chamber vir-
tuoso to Prince Ho-
henzollern ; was first
violoncello of the Vi-
enna court opera in
the pianist, Sophie Menter, in 1872. Since
1873 he has appeared in concerts in Lon-
don, Paris, St. Petersburg, Vienna, Berlin,
etc. Works : Concerto for violoncello and
orchestra ; Mazurka, gavotte, polonaise,
serenade, and other pieces for violoncello.
— Wurzbach ; Kiemann.
■^^-^j.
1868
POPULUS
POPULUS, NICOLAS ADOLPHE AL-
PHONSE, born at Ai-cueil, near Pai-is, in
1831, still living, 1890. Organist, pupil at
the maitrise of Saint-Jacques du Haut-Pas,
■where he was a choir-boy, then pupil of
BiUard on the pianoforte, of Elwart and
Charles Maui-y in harmony, of Perez y Al-
varez in counterpoint, and of Marius Gueit
on the organ. When only fourteen years of
age he became assistant organist at Saint-
Jacques, was made organist at Saint-Nicolas
du Chardonnet in 1854, at Chaillot in 1855,
and returned to Saint-Jacques as maitre de
chapelle. He is also professor of singing
in the schools of Paris, music du-ector of
Sainte-Geneviove's school, and professor of
pianoforte and singing at the school of the
Sacre-Coeur. Works : Agar et Ismaiil, bibli-
cal scene in 2 acts ; Several masses, for 3 and
4 voices, with organ and orchestra ; Motets
for chorus, etc. ; Chants Hturgiques, for 2
and 3 voices, with organ ; Rupertoire de
chants patriotiques, choruses for 4 voices ;
Recueil de 24 miJlodies religieuses ; Mi'lo-
dies vocales, organ and pianoforte music.
— Fctis, Supplement, ii. 3G1.
PORGI AMOR. See Nozze di Figaro.
PORO (Porus), Italian opera in three
acts, text from Metastasio's Aleifsandro nell'
ludie, which Handel cut freely, music by
Handel, first represented at the King's
Theatre, Loudon, Feb. 2, 1731. The orig-
inal autograph, in Buckingham Palace, is
dated at the end of the first act, Dec. 23,
1730 ; at the end of the second, 30 Dee.
1730 ; and at the end of the third. Fine
dell' opera Poro, Jan. IG, 1731. It was re-
ceived with great favour, and was revived
in 1736. Original cast : Poro, King of
India, lover of Cleofide (C), Signor Se-
nesino ; Cleofide, Queen of another part
of India, in love with Poro (S.), Signora
Sti-ada ; Gandarte, general of Poro's army
and lover of Erissena (A.), Signor Bertolli ;
Erissena, Poro's sister, promised to Gan-
darte (A), Signora Merighi ; Alessandro,
the Macedonian King (T.), Signor Annibale
Pio Fabri ; and Timagene, Alexander's gen-
eral and favourite, but his secret enemy
(B.), Signor Comano. This opera contains
some fine duets and a bravura song of ex-
traordinary dilficultj', " Serbati a grandi
imprese," for Alessandro. It was performed
in Hamburg as Cleofide in 1732. Published
by W'alsh, and the fourth edition contained
three interpolated airs by other composers,
and one taken fi-om Siroe, " Torreute cres-
ciuto per torbida plena." Edited by Chry-
sander for the Hiindelgesellschaft (vol.
79), Breitkopf & Hiirtel (Leipsic, 18G1).
— Chrysander, Handel, ii. 244 ; Rockstro,
1G7 ; Burney, iv. 350.
PORPORA, NICCOLO (Niccola) AN-
TONIO, born in
Najiles, Aug. 19,
1G86, died there,
February, 17G6
(17G7?). His Chris-
tian name is spelled
Niccola in his auto-
graphs, but Niccolo
on the title-pages of
all works published
by himself. H i a
"~ " father, a bookseller,
sent him to the Conservatorio di San Loreto,
where he studied under Gaetano Greco,
Padre Gaetano of Perugia, and Francesco
Mancini. His first opera, Basilio, re d' Ori-
ente, was brought out at the Teatro de'
Fiorentini in 1709, and he was apjiointed
maestro di cappella to the Portuguese am-
bassador. His Berenice, given the next
year at the Teatro Capranica, Rome, was
praised by Handel. In 1719 he was ap-
pointed master at the Conservatorio di San
Onofrio, for which he wrote in 1722 an
oratorio, II martirio di Santa Eugenia ; the
year before he had been made virtuoso to
the Prince of Hesse-Darmstadt. He had
already established his famous school of
singing, to which Hasse came as a pupU in
1724, though he soon left it to study under
Alessandro Scarlatti, a sHght which Porpora
never forgave him. In 1725 he went to
Venice, where he wag made a teacher at
142
PORPOEA
the singing school for girls, La Pieti, and
thence to Vienna, where hia music did not
meet with the success lie had anticijjated,
the Emperor Karl VI. not liking his florid
vocal writing. He soon returned to Venice,
and was appointed master of the Scuola
degl' Incurabili, for the pupils of which he
wrote his vocal cantatas, twelve of which
were published in London in 1735. In
1728 he set out for Dresden, on the invita-
tion of the Electoral Princess Marie An-
toinette, who was anxious to take lessons
of him. On the way he stojJlJed in Vienna,
where, owing to the protection of the Vene-
tian ambassador, he got an order from the
Emperor for an oratorio. He was well re-
ceived in Dresden, where he sustained a
brisk rivah-y with Hasse and his wife Faus-
tina ; but he obtained frequent leave of ab-
sence, retui-ning to Venice in 1729, and
going to London the same year to maintain
for a short time an unsuccessful rivalry
with Handel. He even had his Dresden
engagement cancelled in order to stay in
London ; but made at least two trips to
Venice (in 1731 and 1733), notwithstanding,
to bring out ojjeras there. In 173G he fi-
nally quitted London, and established him-
self in Venice, where he became director of
the Conservatorio dell' Ospedaletto. In
1845 he went a third time to Vienna, in the
suite of the Venetian ambassador Correr,
published there some sonatas for violin
with continuo, and was made Kapellmeister
to the King of Poland. It was on this
visit that he met and gave advice to the
young Haj-dn. He returned to Naples in
1755 or 1760, and succeeded Abos as maes-
tro di cappella at the Conservatorio di San
Onofrio. But he had outlived his poi^u-
larity as a composer, and his last opera,
Camillo, was a failure. After this he wrote
only a little church music. His last years
were passed in gi-eat poverty. The cause
of his death has been stated by Villarosa as
pleurisy, and by Gazzaniga as an accident
to his leg. His burial expenses were paid
by subscription by Neapolitan musicians.
Porpora has lived in history rather as a
great singing teacher than as a composer ;
he was a cultivated man, well up in Latiu
and Italian literature, and sjDeaking French,
German, and English fluently. His operas,
by no means his best works, were popular
in their day, though mostly short-lived. As
a teacher of singing he has never had a peer ;
among his pupils being Farinelh, Caflarelli,
Uberti, and others of the greatest singers
of all time. "Works — I. Ojieras : Dasilio,
re d' Oriente, Naples, Teatro de' Fiorentini,
1709 ; Berenice, Kome, Teatro Caprauica,
1710 ; Flavio Anicio Olibrio, Naples, 1711 ;
Arianna e Teseo, Vienna, Oct. 1, 1714 ; Te-
mistocle, ib., Oct. 1, 1718 ; Faramondo,
Naples, 1719 ; Angelica (serenata), Vienna,
Nov. 19, 1720 ; Eumene, Rome, 1721 ; Issi-
pile, ib., 1723 ; Adelaide, ib., 1723 ; Farnace,
ib., 1724 ; Damiro e Pitia, Munich, 1724 ;
Germanicoiu Germania, Home, 1725 ; S/face,
Venice, 1726 ; Imeneo in Atene, ib., 1726 ;
Meride e Selinuute, ib., 1727 ; Ezio, ib.,
1728 ; Semimmide riconosciuta, ib., 1729 ;
Ermenegilda, Naples, 1729 ; Tamerlano,
Dresden, 1730 ; Alessandro nell' Indie, ib.,
about 1730 ; Andromeda, about 1730 ; Anni-
bale, Venice, 1731 ; Arbace, London, 1733 ;
Mitridate, Venice, 1733 ; Ariadne, London,
1733 ; Ferdinaudo, ib., 1734 ; Polifemo, ib.,
1735 ; Aijrippina, about 1735 ; Ifigenia in
Aulide, London, 1735 ; Eosbale, Venice,
173G ; Lucio Papirio, ib., 1737 ; Carlo il
Calvo, ib., 1738 ; P barone di Zampano,
Naples, 1739 ; Didone abbandonata, about
1740 ; Statira, Venice, 1742 (?) ; Rosmane,
Vienna, Feb. 3 (?), 1742 ; Partenope, Na-
ples, about 1742 ; Le nozze d' Ercole e
d' Ebe, Venice, 1744 ; Filandro, Dresden,
July 18, 1747; Tolomeo, re d' Egitto,
about 1760 ; P trionfo di Camillo, Naj^les,
1760.
H. Oratorios : Gedeone ; II martirio di
Santa Eugenia ; II martirio di 8. Giovanni
Nepomucene ; II Verbo incarnato ; Davide
(London, 1735) ; II trionfo della divina
giustizia ; Oratorio, title unknown, written
in Vienna for the Emperor Karl VI., and
143
PORSILE
many cantatas, twelve of which were pub-
lished in London (1735).
TTT. Church music : Mass for five voices,
without orchestra ; Mass for five voices, two
violins, viola, and bass ; Mass for two chor-
uses, four voices di ripieno, with orchestra
(Lauuei-, Paris) ; In exitu Israel, for two
choruses ; Confitebor, for two choruses, two
violins, viola, and organ ; Domine probasti
me, for two soprani, two contralti, two vio-
lins, viola, and organ ; In te, Domine,
speravi, for five voices, two violins, viola,
and organ ; Qui habitat, for two soprani,
two contralti, violins, viola, and organ ;
Magnificat, for two choruses ; Dixit, for
four voices, two violins, and organ ; Dixit,
for four voices ; Stabat, for two soprani,
two contralti, two violins, viola, and or-
gan ; Sis duos for soprani on the Passion
for Holy Week ; Lessons for the funeral
service ; Laudate, pueri, Dominum, for four
voices, violin, viola, and oboe ; Te Deum,
four voices and orchestra ; In te, Domine,
speravi, four voices ; Beatus vir, four voices ;
Credidi, four voices ; Lauda, Jerusalem,
four voices ; Lictatus sum, two choruses
with violins ; In convertendo, four voices ;
Cum invocarem, four voices ; Nunc dimittis,
five voices ; Do profundis, four voices ;
Confitebor, four voices ; Nisi Dominus, four
voices ; Introduzione al salmo Miserere, for
two soprani, two alti, and orchestra ; Lit-
anies for four voices ; Salve Eegina, one
voice with instruments, original MS. form-
erly in the collection of Aloys Fuchs (Vienna);
2 Kegina Ca'li, one voice with instruments.
rV. Instrumental works : G symphonies
da camera, for two violins, violoncello, and
bass (London, 173G) ; 12 sonatas for the
violin and bass (Vienna, 1754, also in Paris) ;
G fugues for the clavecin first published in
dementi's Practical Harmony (4 vols., Lon-
don), also in Farrenc's Tresor des pianistes.
Biografica degli uomini. . . Napoli (Na-
l^les, 1819). — Fetis, vii. ; Clement, Mus.
celebres.
PORSILE, GIUSEPPE, born in Naples
in 1672, died in Vienna, May 29, 1750.
Dramatic composer, maestro de capilla in
the service of Chai-les 11. of Spain ; returned
to Naples in 1700, and was called to Vienna
in 1713 as music-master to the Archduchess
Josephine, subsequently being appointed
composer to the court. Works — Operas :
Sisara, given in Vienna, 1719 ; Meride e
Selinunte, 1721 ; Spartaco, 1726 ; I due re,
Roboamo e Geroboamo, 1731 ; Giusepi^eri-
conosciuto, 1733. Twelve oratorios, 9 ser-
enades.— Fetis ; Mendel.
PORTA, Fra COSTANZO, born at Cre-
mona, Italy, first half of the IGth cen-
tury, died at Loreto in IGOl. Church
comjjoser and contrapuntist, pupil of Ad-
rian Willaert in Venice. He was a Fran-
ciscan monk and maestro di cappella of the
convent of his order in Padua, then at the
Cathedral of Osimo, the Metropolitan
Church of Ravenna, and lastly of the Santa
Casa di Loreto. He had several celebrated
pujjils, and was one of the musicians who
dedicated a collection of jJsalms to Pales-
trina. His works are grave in style, and
he was especially careful to preserve their
modality intact. Works : Five books of
motets (\'cnice, 1555 to 1585) ; 1 book
masses (ib., 1578) ; 2 books of introitus,
(15GG, 1589) ; 4 books of madrigals (1555,
158G) ; Psalms (1G05) ; Hymns (1G02).
Padre Martini possessed a MS. of Lamen-
tationeset Madrigali, and a treatise : Instru-
zione di contrappunto. Other Composi-
tions are in the old collections published in
Venice and Antweii^ in the 16th century.
Padre Martini has given specimens of his
works in Saggio fondamentale pratico di
contrappunto, which Clioron reproduced in
Principes decomposition des ecoles dltalie.
Hawkins also has inserted specimens in his
General History of Music (i. 112-115).
— Fc'tis ; Burney, Hist., iii. 225 ; Riemann ;
Mendel ; Gerber ; Schilling; Ambros, Gesch.
PORTA, FRANCESCO DELLA, born in
Milan about 1590, died there in 1666.
Organist and church composer, pupil of
Ripalta. He was organist of several
churches in Milan. Works : Villanelle a
144
PORTA
1-3 voci (Rome, 1619) ; Salmi da cappella
(1637) ; Motetti (Venice, 1645, and Ant-
werp, 1654) ; Ricercari (Milan). He was
one of the first comiDOsers to make practical
use of the basso continuo. — Fetis ; Rie-
mann ; Jlendel ; ScLilling ; Gerber.
PORTA, GIOVANNI, boru in Venice,
end of tlie 17th
century, died in
Munich iu 1755.
Dramatic composer,
at first music di-
rector to Cardinal
Ottoboni ; he re-
turned to Venice in
1716, and for
twenty years was
chorus-master at the Conservatorio della
Pieta. After the death of Biffi he com-
peted for the position of maestro di cap-
pella at S. Marco, but failing to obtain
it, went to London, which he had visited
before in 1729. In 1737 he was appointed
Kapellmeister to the Elector of Bavaria.
Works — Operas : La costanza combattuta
in amore, Venice, 1716 ; Agrippa, ib., 1717 ;
L' amor di figlia, ib., 1718 ; Teodorico, ib.,
1720 ; L' amor tiranno (with Chelleri), ib.,
1722 ; Rea Silvia, ossia Romolo e Remo, ib.,
1723 ; Gli sforzi d' ambizione e d' amore,
ib., 1724 ; Antigone, tutore di Filippo (with
Albinoui), ib., 1724 ; Marianna (do.), ib.,
1724 ; Agide, re di Sparta, Ulisse, ib., 1725 ;
II trionfo di Flavio Olibrio, ib., 1726 ; Al-
deso, ib., 1727 ; Amor e Fortuna, Nel per-
dono la vendetta, ib., 1728 ; Doriclea ripudi-
ata da Creso, ib., 1729 ; II gran Tamerlano,
Florence, 1730 ; Farnace, Bologna, 1731 ;
Numitor, London, 1738 ; Ifigenia iu Aulide,
Dafne, Munich, 1738 ; Artaserse, Munich,
1739. Magnificat for 4 voices and orchestra ;
Motet for soprano, 2 violins, viola, and bass.
— Fetis ; Schilling.
PORTER, WALTER, born iu England
about end of 16th centurj', died in No-
vember, 1659. Comjjoser of motets, son
of Henry Porter (Mus. Bac, Oxford, 1600) ;
Gentleman of the Chapel Royal in 1616 ;
master of the choristers of Westminster
Abbey iu 1639. In 1644, after losing both
his f)laces on the suppression of choral ser-
vice, he found a patron in Sir Edward Spen-
cer. Works : Madrigales and Ayres of two,
three, foure and five voyces, with the con-
tinued bass, with Toccatos, Sinfonias, and
Rittoruelles to them after the manner of
Consort Musique. To bo performed with
the Harpsechord, Lutes, Theorbos, Basse-
Violl, two Violins or two Viols (1632) ; Mot-
tets of Two Voyces for Treble, or Tenor and
Bass, with the Continued Bass or Score.
To be performed to an Oi'gau, Harpsycon,
Lute, or Bass-Viol (1057); The Psalms of
George Sandys, set to Music for two Voyces,
with a Thorough-bass for the organ (1670).
Hawkins and Burney mention a collection
of Airs and Madrigals for two, three, four,
and five Voices, with a thorough-bass for
the organ, or Theorbo-Lute, the Italian Way
(1639), possiblj' a 2d edition of the first-
mentioned work. — Grove ; Mendel ; Schil-
ling.
PORTEUR D'EAU, LE. See Deux
journces.
PORTUGAL (DA FONSECA), (Porto-
gallo), MARCOS ANTONIO, boru in Lis-
bon, March 24, 1762, died at Rio de Janeiro,
Feb. 7, 1830. Dramatic comxjoser ; learnt
the rudiments of music in the theological
seminary where he was educated, became
a jjupil of Borselli, of the Opera, for singing,
and of Galluo, mestre de capella of the ca-
thedral, in counterjjoint. While studying,
he composed Italian canzonette and airs
with orchestra which were produced at the
Lisbon theatre. He followed Borselli to
Madrid, and became accompanist there at
the Opera. The Portuguese ambassador
sent him iu 1787 to Italy to study, and in
the following year he wrote his first opera,
for Turin. In 1789 and 1790 he composed
other successful operas for Venice and Flor-
ence, and thoroughly established his repu-
tation in Italy. He paid a visit to Lisbon
iu 1790, when the king made him his mestre
de capella ; during the years following he
145
PORTUGUESE
brought out many of his operas in Italy, and
returned to Lisbon in 1799. In 1810 lie
followed the royal family of Portugal, which
had gone to BrazU at the time of the
French invasion in 1807, and was made
music director-general in 1811 ; conjointly
with his brother Simao, he assumed, in 1813,
the direction of the newly founded Conser-
vatorio at Vera Cruz. After a last visit to
Italy, in 1815, he returned to Rio de Janeiro.
He was the most distinguished composer
Portugal has produced. Works — Operas :
Pequeno drama, Lisbon, Dec. 17, 1787, for
the birthday of Queen Maria I. ; Licenya
pastoril, ib., 1787 ; Idylio, ib., 1788, for the
name-day of the Infanta Carlotta Joaquina ;
L' eroe cinese, Turin, 1788 ; La bacchetta
portentosa, Genoa, 1788 ; Gratidiio, Lisbon,
1789 ; A inveja abatida, ib.. May 13, 1789 ;
A noiva fiugida, ib., 1790 ; Os viajantes
ditosos, ib., 1790 ; L' astuto, Florence,
1790 ; II molinaro, Venice, 1790, Breslau,
1792 ; La donna di genio volubile, Parma,
1791, Venice, 179G ; A mascara, Lisbon,
1792, and Venice, in Italian, as La maschera
fortunata, 1797 ; H Ciuna, Florence, 1793 ;
I due gobbi, ossia le coufusioni nate dalla
somiglianza, ib., 1793, Vienna, 1794 ; Ei-
naldo d' Asti, Venice, 1793 ; H principe di
Sj^azzacamino, ib., 1793, St. Petersburg,
about 1795, and Lisbon, as H barono di S.,
May 27, 1799 ; La vedova raggiratrice,
Florence, 1794 ; Demofoonte, Milan, 1794 ;
Argenide, St. Petersburg, 1794-95 ; Arta-
serse, ib., 1794-95 ; H ritorno di Serse,
Florence and Bologna, 1795 ; Gli avventu-
rieri, Florence, 1795 ; O mundo da lua,
Lisbon, about 1795 ; Zulema e Selinio,
Florence, 1796 ; L' iugauno poco dura,
Naples, 1796 ; II diavolo a quattro, ossia le
donne cambiate, Venice, 1797, and IVIilan,
as II ciabottino, 1801 ; Fernando in Mes-
sico, Rome, 1797 ; II filosofo seduceute,
ossia non irritar le donne, Venice, 1798,
and Paris, 1801 ; L' equivoco in equivoco,
Verona, 1798 ; La madre virtuosa (amoi-osa),
Venice, 1798, and Lisbon, as La morte di
Semiramide, 1801 ; Alceste, Venice, about
1799 ; Idonte, ossia il sacrifizio d' Ecate,
Milan, 1799 ; Gli Orazi ed i Curiazi, Fer-
rara, 1799 ; Adrasto, Lisbon, 1800 ; L' isola
piacevole, ib., 1801 ; A casa de campo, ib.,
1802 ; Quern busca lii fica tosquiado, ib.,
1802 ; O sapateiro, ib., 1802 ; Sofonisba,
ib., 1803 ; II trionfo di Clelia, ib., 1803 ;
Zaira, ib., 1803 ; Oro non compra amore,
ib., 1804 ; Merope, ib., 1804-5 ; Ginevi-a di
Scozia, ib., 1805 ; Hduca diFoix, ib., 1805 ;
La morte di Mitridate, ib., 1806 ; Augurio
di felicita, ossia il trionfo dell' amore, Rio
de Janeiro, 1807 ; II trionfo di Gusmano,
Lisbon, 1810 ; A saloia namorada, Rio de
Janeiro, 1812 ; O juramento dos numes,
ib., 1813 ; Adriano in Siria, Milan, 1815.
Several operettas, burlesques, etc., given
at Lisbon and Rio de Janeiro, 5 great
masses with orchestra, 5 masses with organ ;
2 Te Deum with orchestra ; Psalms with
do. ; Misereres, etc. — Vasconcellos ; Rie-
mann.
PORTUGUESE HYMN (Adeste fideles).
Its origin is unknown, but it is supposeel to
have been first sung in England in the Roman
CathoUc chaj^el attached to the Portuguese
embassy, from which it takes its name. The
tune has been attributed to John Reading,
who wrote " Dulce domum," and also to a
Mr. Thorley, an English organist. It is con-
tained in the modern Latin INIanual of De-
votions of the Roman Catholic Church, en-
titled, " Thesaurus Animas Christianaj," pub-
lished by C. Dolman (London, 1857), and a
note in this book claims it to be a sequence
for the Nativity of Christ, taken from the
Gradual of the Cistercian monks. — Notes
and Queries, Fourth Series, i. 12, 186; si.
75, 219.
POSTILLON DE LONJHMEAU, LE,
opera-comique in three acts, text by Adoljahe
de Leuven and Brunswick, music by Adolphe
Adam, first represented at the Ojsera Co-
mique, Paris, Oct. 13, 1836, with gi-eat suc-
cess. A postillion of Lonjumcau marries
a young peasant, Madeleine, of the same
village, and immediately after the cere-
mony the guests force him to sing to them.
146
rOTIER
The intendant-general of Louis XV., in
search of a tenor for the Academie Royale
de Musique, hears the voice of the young
bridegroom, and is so pleased that he bears
him away to Paris. The abandoned bride
goes to ile-de-FrancQ with an old aunt,
who dies and leaves her a fortune. After
ten years have elapsed, during which time
she has educated herself, Madeleine goes
to Paris, where she is received at court.
At the Opura she recognizes the first tenor
Saint-Phal as her husband, and he falls in
love with hei-. They are married, and the
fact that Saint-Phal is a bigamist is discov-
ered. He is seized, and at this moment his
wife comes forward in the habit of a jJeas-
ant, and thus Saint-Phal discovers that he
has twice married the same woman, who
now brings him love, beauty, and wealth.
The chief numbers are : " Combattons, chan-
tons," sung by Henri ; the couplets, " Oh !
qu'il est beau, le postilion de Lonju-
meau ; " and the air, " Mon petit mari."
The opera was given in Berlin, Dresden,
Leipsic, and Vienna in 1837, and first in
New York in 1839. Published by Schott
(Mainz, 1836) ; overture for pianoforte by
Ch. Rummel (ib., 1837) ; German transla-
tion by M. G. Priedrich (ib., 1837). Ital-
ian operas, H postiglione di Lonjumeau,
by Coppola, Milan, Nov. 6, 1838 ; by Spe-
ranza, Lucca, 1842. — Eevue et Gaz. mus. de
Paris (1836-37), 367 ; (1880), 329 ; Neue
Zeitschr., vii. 110 ; Ciicilia, xis. 19G.
POTTER, HENRI HIPPOLYTE, born in
Paris, Feb. 10, 1816, died there, Oct. 9,
1878. Dramatic composer, pupil at the
Conservatoire of Amedce in solfege, of Zim-
merman on the pianoforte (2d prize, 1830 ;
first, 1831), of Dourlen and Lecouppey in
harmony (first prize, 1832) ; he then stud-
ied counterpoint and fugue for five years,
and, on leaving the Conservatoire in 1837,
began to teach and to compose. In 1850-56
he was chef de chant at the Opera, and in
1875 became professor of singing at the
Conservatoire. Works: Mademoiselle de
Merauges, at the Opera Comique, 1841 ;
Le caquet dn convent, ib., 184G ; II signor
Pascariello, ib., 1848 ; Le vieux prix de
Rome, Theatre Beaumarchais, 1849 ; Ji^lia
et Mysis, ou I'Atellane, ballet, Opera, 1853 ;
Le rosier. Opera Comique, 1859 ; L'ange
de Rothesay, Theatre International, 18G7 ;
Madelaiue, Bouffes-Parisiens, 1869 ; Le
bailly de Suresnes, Le fabliau, Volage et
jaloux, not given. — Fetis ; do., Supplement,
ii. 363.
POTT, AUGUST, born at Nordheim, Han-
over, Nov. 7, 1806, died in Gratz, Styria,
Aug. 27, 1883. VioHuist, pupil of Spohr at
Cassel, where also he made his first appear-
ance in 1824 ; after travelling iu Denmark,
Germany, and Austria, he became Conzert-
meister in 1832 in the grand ducal orches-
tra at Oldenburg. In 1861 he was pen-
sioned, and retired to Gratz. Works : 2
concertos for violin and orchestra ; Varia-
tions for do. ; do. for violin, with violin,
violoncello, and bass ; Duos for violins, etc.
— Mendel ; Riemaun.
POTTER, (PHILIP) CIPRIANI (HAM-
BLY), born in Lon-
don in 179 2, died
there, Sept. 26, 1871.
Pianist and conduc-
tor ; began his musi-
cal education at seven
under his father, a
teacher of pianoforte ;
then studied counter-
point under Attwood,
theory under Callcott
and Crotch, and the
pianoforte under Woelfil. In 1816 an
overture by him was performed by the
Philharmonic Society, and he made his first
appearance in the same year at that so-
ciety's concert, playing a sextet of his own
for pianoforte and stringed instruments.
He then went to Vienna, studied composi-
tion under FOrster, and received friendly
advice from Beethoven ; after visiting Ger-
many and Italy, he returned in 1821 to
Loudon. In 1822 he was appointed pro-
fessor of pianoforte at the Royal Academy
147
rouGm
of Music, and in 1832, on the resignation
of Dr. Crotch, he succeeded him as prin-
cipal until 1859, when he resigned in favour
of Charles Lucas. Works : 9 symphonies
for full orchestra (JVLS., 6 in Philharmonic
library) ; 4 overtures (MS., 3 in ib.) ; 3 con-
certos for pianoforte and orchestra (MS.) ;
Concertante for pianoforte and violoncello ;
Medora e Coi-rado, cantata ; Sextet for pi-
anoforte, flute, violin, viola, violoncello, and
double-bass, op. 11 ; 3 trios for pianoforte,
violin, and violoncello, op. 12 ; 3 sonatas for
pianoforte ; 9 rondos ; 2 toccatas, in G and
B-flat, for pianoforte ; Variations, fantasias,
romances, etc. He published also two
books of studies for pianoforte, contributed
to musical periodicals, and edited the Com-
plete Pianoforte Works of Mozart (Novello),
and Schumann's Album fiU- die Jugend
(1857). — Grove ; Fotis ; Riemann.
POUGIN, (FE.iX^'OIS AUGUSTE) AR-
THUR (PARROISSE-), born at Chateauroux
(ludre), Aug. G, 1834, still living, 1890. In-
strumental and vocal composer, though best
known as historian and critic, and as com-
piler of the Supplement to Fctis'sBiograpliio
dcs musicieus (Paris, 1878-80). The son of
an itinerant actor, he was first instructed in
music by his mother, a good amateur ; at
eight he took up the study of the violin, and
in 184G entered the Paris Conservaloiro as
a pupil of Gui'rin and Alard. From the ago
of thirteen ho plaj-ed in the orchestras of
theatres, at the same time studying counter-
point and harmony under Albert Lhote,
and the violin under Berou ; he then re-
entered the Conservatoire, to study har-
mony under Reber, and in 1855 became
conductor at the Th6;itre Beaumarchais, and
soon afterwards first violin at the Musaril
Concerts, where some of his compositions
were played. In 1856-59 he was vice-con-
ductor and rc'putiteur at the Folies Nou-
velles, and in 1860-G3 violinist at the Opera
Comique. In 1859 he began his first his-
torical sketches and biographical articles
on the French musicians of the 18th cen-
tury, and since then has devoted himself en-
tirely to literary labours and has published
many volumes. Works : Le cabaret de
Ramj^onneau, opera-comique ; Pieces for
orchestra ; Morceau de concert for violin,
with orchestra or pianoforte ; Morceaux de
genre for pianoforte ; Vocal melodies. — Fc-
tis, Supplement, ii. 363 ; Mendel, Ergiinz.,
362 ; Riemann.
POULE, LA, symphony in G minor, by
Haydn, written for Paris, 178G. I. Allegro
spiritoso ; II. Andante ; III. Meiuietto, al-
legro ; IV. Finale, vivace. Published by
Simrock, Berlin.
POURQUOI TREMBLER. See Zampa.
POWELL, THOMAS, born iu Loudon
in 1776, died in Edinburgh after 1863.
Violoncellist ; settled in Dublin iu 1806 to
teach, and later removed to Edinburgh.
In 1805 he played a concerto of his com-
position at the Haymarket Theatre, Lon-
don. Works : 15 concertos for violin and
orchestra ; Overtures for orchestra ; 3 duos
for violin and violoncello ; 3 do. for 2 violon-
cellos ; Sonatas for pianoforte, violin, and
violoncello ; do. for pianoforte and violon-
cello ; Capriccio for violoncello ; Introduc-
tion and fugue for organ, etc.
PRADHER (Prad.'re), LOUIS BARTHl^:-
LEMY, born in Paris, Dec. IS, 1781, died
at Gray (Haute-Saone), October, 1843. Pi-
anist and dramatic composer, son of a vi-
olin teacher ; pupil of his uncle Lefiivre, of
Gobert, and Berton. He left the Paris Con-
servatoire to man-y the daughter of the
composer Philidor. In 1802 he succeeded
Jadin as professor at the Conservatoire,
and numbered Henri and Jacques Herz,
Dubois, and Rosellen among his pupils.
He taught the family of Louis Philippe,
and was accompanist to Louis XVHI. and
Charles X. ; took the actress. Mile. More,
for his second wife, and retired to Toulouse,
where he became director of the Conserva-
toire. Works — Comic operas : Le voisi-
nage (with others), 1800 ; Le chevalier d'in-
dustrie (with Dugazon), 1804 ; La folie
musicale, ou le chanteur prison nier, 1807 ;
Jeuue et vieille, 1811 ; L'empruut secret,
148
rilAGER
1812 ; Philosophe en voyage (with Kreube),
1821 ; Jennj' la bouquetiore (with lii-eube),
1823 ; Les enlevements impromptu, 182-4.
Concerto for pianoforte ; Sonata for piano-
forte, violin, and violoncello ; Adagio and
rondo, for do. ; Rondo for 2 pianofortes ; 5
sonatas for pianoforte ; Eondeaux and fan-
taisies, variations, etc., for do. ; 22 collec-
tions of romances. — Fetis ; Mendel ; Eie-
maun.
PRAETORIUS. See rralorius.
PEAGER, FERDINAND CHRISTIAN
WILHEKVI, born in Leipsic, Jan. 22, 1815,
still living, 1890. Pianist, fii-st studied the
violoncello, but changed to the pianoforte
on the advice of Hummel. He settled at
The Hague as a teacher, when sixteen years
of age, and in 1834 removed to London.
He was selected by Schumann to be the
English correspondent of the Neue Zeit-
schrift f iir Musik ; Las played on the con-
tinent and been very successful as a teacher.
Works : Abelliuo, overture ; Live and love,
battle and victory, symphonic poem (1885) ;
Symphonic prelude to Manfred ; Trio for jii-
anoforto and strings. A selection of his best
pieces for pianoforte was published in the
Priiger-Album (Leipsic, 2 vols.). — Grove ;
Riemann.
PEAGER, HEINRICH ALOYS, born in
Amsterdam, Dec. 23, 1783, died at Magde-
burg, Aug. 7, 1854. Violinist and virtuoso
on the guitar, for some time Kapellmeister
of an itinerant dramatic comjsauy, then at
the theatres in Leipsic, Magdeburg, Han-
over, Cologne, etc. Works : Der Kyff-
hiluserberg, opera ; Quintet for viola, 2
clarinets, flute, and bassoon ; do. for strings ;
Quartets, trios, and duos for do.; Capriccios,
etudes, etc., for violin ; Themes varids for
various instruments ; Music for guitar.
— Futis ; Mendel ; Schilling.
PRATI, ALESSIO, born at Ferrara, Italy,
July 16, 1750, died there, Feb. 2, 1788.
Dramatic composer, pupil of Bighetti. He
was maestro di cappella at XJdiue, went to
Paris in 1767, and taught singing in the
highest circles. Having visited St. Peters-
burg and Germany, he returned in 1781
to Italy and became maestro di cappella to
the King of Sar-
dinia. Works — Op-
eras : Ifigenia in
Aulide, Florence,
1784 ; Semiramide,
ib., 1785 ; Armida
abbandonata, Mu-
nich, 1785 ; Olim-
pia, Naples, 1786 ;
Demofoonte, Ven-
ice, 1787; 12 so-
natas for pianoforte and violin ; Concerto
for flute ; do. for bassoon ; 3 sonatas for
harp and violin ; Duo for 2 harpis ; Several
collections of romances and Italian airs.
— Laderchio, Notizie biografiche intorno alia
vita di A. Prati (Ferrara, 1825) ; Ffetis ;
Schilling.
PRATOEIUS, HIERONYilUS, born in
Hamburg before 1560, died there in 1629.
Organist, first instructed by his father, then
studied music at Cologne, became city can-
tor at Erfurt in 1580, and succeeded his
father as organist at St. Jacob's, Hamburg,
in 1582. Works : Cantiones sacrno, for 5
to 8 voices (1599) ; Magnificat, for 8 voi-
ces (1602-22) ; Liber missarum, for 5 to
8 voices (1616) ; Cantiones sacrro varifc, for
5 to 20 voices (1618) ; Cantiones novno
officiosfc, for 5 to 15 voices (1618-25) ;
Melodeyen-Gesangbuch zu vier Stimmen
(with his son Jacob, 1604). — Mendel ; Rie-
mann ; Schilling.
PRATOEIUS, JAIvOB, born in Erfurt
about 1580, died in Hamburg, Oct. 21,
1651. Organist, sou of the preceding, pu-
pil in Amsterdam of Jan Pieter Swee-
linck ; after his return to Hamburg he
became organist at St. Peter's, and later
held also the honorary posts of vicar and
dean at the cathedral. Besides the nine-
teen chorals in the Melodeyen-Gesangbuch,
edited with his father, there exist only com-
positions for special occasions, preserved
in the city library at Hamburg. None of
his organ music, which was of a high
14<J
PRATOllIUS
order, has come down to us.
Schilling.
PEATOBIUS (Praetorius),
born
Mendel
mCHAEL,
at Kreutz-
berg, Thuriugia,
Feb. 15, 1571
(1572?), died in
Wolfenbiittel,
Feb. 15, 1G21.
The surname i s
latinized from the
German Schulz or
Schulze. He was
one of the promi-
nent composers, and especially one of the
most noted writers on music, of his day
and countrj-. Little is known of his life,
save that he began his career as Kapell-
meister at Liineburg, was afterwards made
organist, and then Kajiellmeister and Secre-
tary to the Duke of Brunswick, and was
appointed Prior of the Monastery of Ringel-
heim, near Gozlar. Works — I. Musical :
Musre Sionise, in IX. parts, containing l,2ii
vocal pieces ; Parts 1 to IV., Konzert-
gesilnge, 8 to 12 voc, on German psalms
and Kirchenlieder ; Part V., Lieder and
psalms, 2 to 8 voc. ; Parts VI. to IX., Kir-
chenlieder, 4 voc, in counterpoint of the
first order ; published 1605-10 (Part IX. re-
published, as Bicinia et Pricinia, IGll) ;
Musai-um Sioniarum motetse et psalmi, 4 to
16 voc, I. pars, 1007 ; Eulogodia Sionia,
60 motets, 2 to 8 voc, for the close of
Divine Service, 1611 ; Missodia Sionia,
1611 ; Hymnodia Sionia, hymns 2 to 8 voc,
1611 ; Megalynodia, madrigals and motets,
5 to 8 voc, 1611 ; Terpsichore, dance-pieces
by himself and several French composers,
1612 ; Polyhymnia caduceatrix et pane-
gyrica, songs of peace and rejoicing, 1 to 21
voc, 1619 ; Polyhymnia exercitatrix, 2 to 8
voc, 1619 ; Uranodia (Uranochordia), 19
songs 4 voc, 1613 ; Kleine und grosse Li-
tanei, etc., 1606 ; Epithalamium for Fried-
rich Ulrich, of Brunswick, and Anna Sophie,
of Brandenburg, 1614 ; Puericinium, 14
Kirchenlieder, 3 to 12 voc, 1621.
II. Literary : Syntagma Musicum, ex vet^
erum et recentiorum Ecclesiasticorum auto-
rum lectione, Polyhistorum consiguatione,
Variai'um linguarum uotatione, Hodierni
seculi usurpatioue, ipsius denique Musicte
artis observatione, in Cautorum, Organista-
rum, Organopoeorum, ceterorumque Musi-
cam scientiam amantium et tractantium gra-
tiam collectum ; et Secundum generalem
Indicem toti Operi priefixum. In Quatuor
Tomos distributum (Vol. I., Part I., Wol-
fenbiittel, 1614; Part II., Wittenberg, 1615 ;
Vol. II., Part I., Wolfenbiittel, 1619 ; Part
n, ib., 1620). A most remarkable historical
and theoretical work, of which only the
first three volumes were ever j'uhlished.
— Grove, iii., 25 ; Fetis ; Mendel.
PEATT, SILAS GAMALIEL, born, of
American jsa-
rentage, i n
Addison,
Vermont,
Aug. 4, 1840,
still living,
1890. Pian-
ist ; studied
pianoforte in
1857 in Chi-
cago ; went
in 1868 to
Europe and
studied pianoforte in Berlin under Beudel
and Kullak. Having lost the use of his
right wrist from overwork, he had to aban-
don the idea of becoming a performer, and
turned his attention to composition. After
a trip through Germany, he returned to
Berlin and studied counterpoint, harmony,
and composition under R. Wiierst and F.
Kiehl. In 1871 he returned to Chicago,
PRAUPNER
organized the Apollo Club, made a concert
tour in the winter of 1873-74, and in 1875
again went to Europe, attended at Bajreuth
the rehearsals of Wagner's trilogy, gave at
"Weimar a recital of his own pianoforte
compositions before Liszt, and studied in
Berlin score-reading under Heinrich Dorn.
On July 4, 1876, his Anniversary Overture
was performed in Berlin, and soou after at
Weimar. After visiting Paris and London,
he returned in 1877 to America, gave in
1878 symphony concerts in Chicago, and
in 1882 produced Zenobia, his first oj^era,
at McVicker's theatre in that city. In 1885
he again visited London, gave concerts of
his own compositions at the Crystal Palace,
when the Pi-odigal Son symphony and selec-
tions from Zenobia were performed, and in
1886 returned to Chicago to engage in direct-
ing music festivals and teach pianoforte.
He is now (1890) professor of pianoforte at
the Metropolitan Consei-vatory of Music,
New York. Works : Zenobia, grand opera
in 5 acts, Chicago, 1882 ; Lucille, lyric opera
in 4 acts, ib., 1887 ; The Last luca, cantata,
chorus, solo, and orchestra ; Magdalena's
Lament, orchestra ; 1st grand symphony ;
2d grand symphony. The Prodigal Son ;
Serenade, for string orchestra ; 3 minuets
for orchestra ; Symi^honic suite, on charac-
ters in Shakespeare's Tempest, for grand
orchestra ; Court minuet ; Waltzes, im-
promptus, mazurkas, polonaises, minuets,
and other pianoforte music ; Centenary
hymn to Washington, 1889 ; Suite of
dances, for orchestra, 1889 ; Songs and
part songs.
PRAUPNER, VACLAV, born at Leit-
meritz, Bohemia, Aug. 18, 1744, died in
Prague, April 2, 1807. Organist and vio-
linist, studied music in his native town and
in Prague, where he taught violin and sing-
ing, conducted the orchestra of Count Nos-
tiz's house theatre, and became regens
chori in different churches, last at the
Theinkirche, in 1794, when he was ap-
pointed also Kapellmeister at the Opera and
at the Kreuzherrenkirche of St. Fi-ancis.
Works : Circe, opera ; Masses, graduals,
offertories. Requiem, vespers for 3 choirs ;
Concertos, symphonies, and arias. — Dla-
bacz ; Futis ; Gerber ; Wurzbach.
PRfi AUX CLERCS, LE, opera-comique
in three acts, text by Planard, music by
Herold, first represented at the Opera Co-
mique, Paris, Dec. 15, 1832, a few weeks
before the composer's death. The action
is placed near the Louvre, where Marguerite
de Valois is retained as a prisoner by her
brother, Charles IX., in order to check the
conduct of Henri de Navarre. She has
under her i^rotection a young girl, Isabelle,
whom the king intends to marry to the
comte de Comminge. Henri de Navarre
sends the baron de Mergy to release his
wife and her young friend, with whom the
baron is in love. Marguerite favours his
suit, and gains the aid of an Italian at the
court, named Cantarelli, who tells Com-
minge of de Mergy 's plans for a secret mar-
riage with Isabelle. This takes place, in
consequence of which de Mergy and Com-
minge fight a duel. The latter is killed and
de Mergy and his bride are left in peace.
The principal numbers are: " Les reudez-voua
de noble compagnie," a duet ; Mergy's air^
"O ma tendre amie ;" the romance, "Sou-
venirs du jeune age ; " Isabella's air accom-
panied by a violin solo, " Jours de mon en-
fance ; " and the trio, " Vous me disiez sans
cesse : Pourquoi fuir les amours?," sung by
Isabelle, the Queen, and Cantarelli. The
part of Isabelle was written for Mme Ca-
simir, who appeared in the original cast,
which included Fargueil, Thenard, Lemon-
nier, Fereol, Mme Ponchard, and Mile
Massy. This opera was first given in Ber-
lin, as Per Zweikampf, in October, 1833 ;
in Vienna in February, 1834 ; and in Lon-
don, in French, at the Princess's, May 2,
1849 ; in Italian atCovent Garden, June 26,
1880. It received its 1,000th representa-
tion iu Paris in 1871. Published by Schott
(Mainz, 1834), German translation by von
Lichtenstein (ib.) ; overture and airs for
the pianoforte, arranged by Ch. Rummel
151
PEECIOSA
(ib., 1835) ; also by Diabelli (Vienna, 1837).
— Clement et Larousse, 5-12 ; Allgem. mus.
Zeitg., xxxvi. 237 ; Athenaeum (1880), ii.
25.
PRECIOSA, cli-ama in four acts, by Pius
Alexander Wolff, with overture and music
by Weber, first represented at the Royal
Opera House, Berlin, March 14, 1821, with
Mme Stich as Preciosa. The subject is
taken from a novel of the same title by Cer-
vantes (1G13), which was fii"st set to music
by Karl Eberweiu aud rejjresented in Wei-
mar without success. Count Briihl per-
suaded Wolff to send his play to Weber,
who was attracted by the Spanish local
coloring. Preciosa is the daughter of the
chief of a band of gypsies, banished to the
Sierra Nevada, under guai-d of the captain-
general of Andalusia, whose son falls in
love with her. He is seizetl by the gypsies,
who threaten to kill him unless they have
the privilege of liberty on the road. The
captain tells them this is only an adopted
son, and Preciosa, discovering that he is of
the gypsy race, marries him. She finds an
underground passage leading to the Alham-
bra, and the gypsies seal the entrance and
go thither. When the officers arrive to en-
force obedience the gypsy camp is deserted.
The music is treated in Weber's individual
manner, and is full of Spanish colour, inten-
sified by the introduction of gypsj' rhythms
and national airs. The part-songs "Im
Wald," " Die Soun' erwacht," and the gypsy
chorus, "Es blinken so lustig die Sterne,"
and Preciosa's song, " Einsam bin ich nicht
alleiue," are favorites in Germany, and the
melodrama, " Liichelnd sinkst, du. Abend,
nieder," is one of the best pieces of the kind
ever written. The overture played by the
Philharmonic Society of New York, first in
the season of 1854-55, is light and sparkling,
and is based chiefly on a bolero, which is
repeated in the fii-st chorus. The work
was first given in Dresden, June 27, 1821 ;
in Munich and Vienna in 1823 ; in London
at Covent Garden, April 28, 1825 ; in Paris,
arranged by Sauvage and Cromont, at the
Odeon, Nov. 23, 1825 ; at the Theatre Ly-
rique, in one act arranged by Nuitter and
Beaumont, April 16, 1858 ; and at Copen-
hagen, Danish translation by Boie, Oct. 22,
1822. The original score, in the possession
of Max von Weber, was pmbUshed by
Schlesinger (Beriin, 1821). The first two
editions are full of mistakes, but a third
has been carefuUy prepared by Ernst Ru-
doi-ff (ib., 1872). Pianoforte score by the
composer (ib., 1821). Operas of the same
title : in German, by Karl Schnabel, Bres-
lau, about 1840 ; iu Italian, Preziosa, by
Ruggiero Bassi-Manna, text by Colla, Casal-
maggiore, 1845, Milan, May 8, 18G1 ; and
by A. SmaregUa, Milan, Nov. 19, 1879.
— Jahns, W^cber Verzeichniss, No. 279 ;
Weber, Weber, ii. 237, 277; Clement et
Larousse, 543 ; Benedict, Weber, 57 ; Har-
monicon (1825), 39 ; Grove, iv. 417 ; Ber-
liner mus. Zeitg., ii. 37 ; Revue et Gaz. Mus.
de Paris (1858), 125 ; Hanslick, Concert-
wesen in Wien, ii. 235.
PREDIERI, GIACOMO CESAEE, born
at Bologna in the second half of the 17th
century, died after 1711. Church composer,
pupil of Giovanni Paolo Colonna, was ap-
pointed maestro di capjjella of the cathedral
in 1698. Member of the Accademia Filar-
monica in 1690, principein 1698, 1707, and
1711. Works : lezabele, oratorio a sette
voci, etc. (with Floriauo Aresti) ; Sacred
and secular cantatas (Bologna, 1G9G). — Fc-
tis ; Mendel.
PREDIERI, LUCA ANTONIO, born iu
Bologna, Italy, Sept. 13, 1688, died there
in 17C9. Dramatic composer, studied the
violin under VitaU, and counterpoint under
his uncle Giacomo Cesare Predieri. Mem-
ber of the Accademia Filarmonica, Bologna,
170G, principe in 1723. He was maestro di
cappella of the cathedral, and in 1739, on
the recommendation of Fiix was appointed
Vice-Kapellmeister of the Court Chapel in
Vienna. In 1746 he became chief Kapell-
meister, and in 1751 was pensioned and re-
tired to Bologna. Works^Operas : Gri-
selda, Bologna, 1711 ; Astarte, 1715 ; Lucio
152
PEEINDL
Papirio, Venice, 1715 ; H trionfo di Soli-
manno, Florence, 1719 ; Merope, 1719 ;
Partenope, Bologna, 1719 ; Scipione il gio-
vane, 1731 ; Zoe, Venice, 1736 ; Sofonisba,
II sacrifizio d' Abramo, oratorio, Venice,
1738 ; Isacco figura del Eedentore, 1710 ;
and Astrea placata, operetta, text by Metas-
tasio, Vienna, Aug. 28, 1739.— Fc-tis ; Men-
del ; Schilling.
PREINDL, JOSEPH, born at Marbacli,
Nether AiLstria, Jan. 30, 175G, died in Vi-
enna, Oct. 26, 1823. Organist, pupil of
bis father and of Albrechtsberger ; became
in 1793 choirmaster of St. Peter's, Vienna,
and in 1809 Kapellmeister of St. Stephen's.
Works : Masses, offertories, graduals, lam-
entations ; Requiem ; Te Deum ; Cho-
ruses and other church music ; Concertos,
sonatas, fantasias, and variations for piano-
forte ; Melodien aller deutscben Kirchen-
lieder welche im St. Stephansdom in Wien
gesungen werden, with cadences, sym-
phonies, and preludes (Vienna, 3d ed., re-
vised by Sechter) ; Gesanglehre ; "Wiener
Touschule, on harmony, counterpoint, and
fugue (ib., 1827, 2d ed., 1832).— Wurzbach ;
Mendel ; Fetis ; Riemann ; Schilling.
PREIS DEE TONKUNST. See Glor-
reiche Augenblick.
PRf^LUDES, LES, symphonic poem, by
Liszt, op. 4, No. 3, first performed in Wei-
mar at a Pensionskonzert of the Hofkapelle,
Feb. 23, 1854. It is written on a passage
from Lamartine's " Meditations poetiques,"
was begun in Marseilles in 1845, and finished
in Weimar in 1850. It was given in Berlin
in December, 1855 ; in Vienna, March 8,
1856 ; in Leipsic, Feb. 26, 1857 ; and by the
New York Philharmonic Society in the sea-
son of 1861-62. Published by Breitkopf &
Hilrtel (Leipsic, 1856). — Neixe Zeitschr., xlv.
225 ; xlvi. 101 ; Hanslick, Concertwesen in
Wien, ii. 117 ; Wagner, Gesch. Schriften, v.
237.
PREMIER JOUR DE BONHEUR, LE
(The First Day of Good Luck), opera-co-
mique in three acts, text by d'Ennery and
Cormon, music by Auber, first represented
at the Opera Comique, Paris, Feb. 15, 1868.
The action is placed in India, during the
siege of Pondicherry. A young officer,
Gaston de Maillepre, after many adventures,
is brought before a court-martial and con-
demned to be shot, but is liberated, and
from this time dates his " 23remier jour de
bonheur." The original cast included Ca-
poul, Saiute-Foy, Prilleux, Bernard, Mel-
chissedec, and Mile Marie Roze. Mme
Cabel and Mile Marie Roze achieved suc-
cess in the short role of the Indian Djelma.
— Clement et Larousse, 742.
PRENDERGAST, ARTHUR HUGH
DALRYMPLE, born in Loudon, June 28,
1833, still living, 1890. Vocal composer, pu-
pil of James Turle. Conductor of the Lom-
bard Amateur Musical Society. Works :
Cantate Domino and Deus misereatur ; Fes-
tival Te Deum, 1882 ; Anthems ; Part-songs
for male and mixed voices, and songs.
PRENDI, L' ANEL. See Sonnambula.
PRENTICE, THOMAS RIDLEY, born
at Ongar, Essex, England, July 6, 1842,
still living, 1890. Pianist, pupil, at the
Royal Academy of Music, in pianoforte of
Walter Macfarren, and in harmony and
composition of Sir G. A. Macfarren. In
1863 he won the silver medal and the Potter
Exhibition. He started the Monthly Popu-
lar Concerts at Brixton in 1869, and the
Kensington Twopenny Concerts in 1880.
Organist of Christ Church, Lee Park. Pro-
fessor of pianoforte at Guildhall School of
Music, 1880, and at Blackheath Conserva-
tory, 1881. Works : Linda, cantata for
female voices ; Anthems ; Part-songs ; Pi-
anoforte music, and songs. The Musician,
instruction book for pianoforte (London,
1888).
PRESCIMONI, NICOLO GIOSEFFO,
born at Francavilla, Sicily, July 23, 1669,
died at Palermo (?). Amateur composer, pu-
pil of Francesco Catalano, while studying
law at Messina ; obtained his degree as doc-
tor at the age of twenty-eight, and settled at
Palermo, to practise his profession. Works :
La gara de' fiumi, serenade for 5 voices
153
PEESCOTT
(Palermo, 1693) ; La nascita di Sansone,
etc., dialogue for do. (ib., 1694) ; L' Onni-
potenza glorificata, etc., do. (Naples, 1695) ;
Gli angeli salmisti, etc., do. (Rome, 1696) ;
II fuoco panegirista del Creatore, etc., do.
(Palermo) ; II trionfo degli dei, serenade
for 5 voices, 2 choruses, and 6 instruments
(Messina, 1695) ; La uotte felice, serenade
for 6 voices (Palermo, 1700) ; La crisi vitale
del mondo, etc., oratorio for 3 voices (Mes-
sina, 1701) ; I miracoli della Providenza,
etc., do. for 5 voices (Palermo, 1703) ; II
tripudio delle Ninfe, etc., serenade for 3
voices, and instruments (ib., 1704) ; H giu-
dizio di Salomone, etc. (ib., 1705) ; La figlia
unigenita di Gefte, etc., dialogue for 5
voices (ib., 1705) ; Le virtii in gara, etc. (ib.,
1707) ; II latte di Jaele, etc., oratorio for 5
voices and instruments. — Futis ; Schilling.
PRESCOTT, OLWEKL\ LOUISA, born
in London, Sept. 3, 1842, still living, 1890.
Instrumental and vocal composer, pupU of
Lindsay Sloper, and at the Royal Academy
of Music of Macfarren, Jewson, Folkes, and
Raljih. She conducts classes for harmony,
etc., in the University of Cambridge cor-
respondence system for women. Works : 2
symphonies ; Several overtures, and some
shorter j'ieces for orchestra ; Concerted
music for stringed instruments ; Psalm xiii.
for solo, chorus, and orchestra ; Psahn cxxvi.,
for voices oulj' ; Lord UUin's Daughter, for
chorus, with ox'chestra ; Anthems ; Part-
songs, and songs.
PRETTY, LOWLY, MODEST FLOW-
ER. See Purilan's Daughter.
PREVOST, EUGfiNE PROSPER, born
in Pai-is, Aug. 23, 1809, died in New Or-
leans, Aug. 30, 1872. Dramatic composer,
pupil, at the Conservatoire, of Jelensperger
and Seuriot in harmony and counterpoint,
and of Lesueur in composition. He won the
second grand jjrix in 1829, for the cantata
Clcopatre, and the pris de Rome in 1831,
for his cantata Biauca Capello. He mar-
ried Eleonore Colon the singer, and became
chef d'orchestre of the Havre theatre, but
left that city in 1838 for New Orleans, where
he remained twenty years as chef d'orches-
tre and singing teacher, though in 1842 he
was conductor of the orchestra at Niblo's
Garden, New York. In 1862 he returned
to Paris, and became chef d'orchestre at
the Bouifes Parisiens, then at the concerts
of the Champs-lilysees. He went again in
1867 to New Orleans, and remained there.
Works : L'hotel des princes, Lc grenadier
de Wagram, Theatre de 1' Ambigu Comique,
1831 ; Cosimo, Ojsera Comique, 1834 ; Le
bon gar(;on, ib., 1837 ; Blanche et Rene,
New Orleans ; L'illustre Gaspard, Paris,
Op^'ra Comique, 1863 ; Several masses.
— Fetis ; do., Supijlcment, ii. 369 ; Mendel.
PRfiVOST-ROUSSEAU, ANTONIN, born
in France, 1824, still living, 1890. Ama-
teur composer, pupil in 1846—48 of Dourlen
and about 1852 of Ai-istide Hignai-d. He
is a lawyer, and became mayor of Cham-
l)igny-sur-Marne. In 1849 he founded a
choral society, which he still conducts.
Works : Les poemes de la natui-e, musical
poem in 8 pai-ts, Cercle Musical, 1863 ; La
ferme, symphonie rustique, 1865 ; Les
songes, symphonie lyrique, 1872 ; Riquet
a la houppe, opera-comique, fragments of
which have been performed at concerts ;
Several masses ; Many choruses, melodies,
etc. — Fctis, Supplement, ii. 369.
PREYER, GOTTFRIED, born at Haus-
brunn, Nether Austria, Mai'ch 15, 1808,
still living, 1890. Organist and violinist,
first instructed on several instruments by
the parson Bohunowsky, then in Vienna, in
1828-34, pupU. of Sechter in harmony,
counterpoint, and composition. In 1835
he became organist of the Lutheran church,
in 1838 professor of harmony and counter-
point at the Conservatorium, in 1844 Vize-
Hofkapellmeister, in 1846 court organist,
and in 1853 Kapellmeister at St. Stephen's.
He was director of the Conservatorium in
1844-48, and jjensioned as Vize-HofkapeU-
meister in 1876. Works — Operas : WaUad-
mor ; Freimannshohle ; Amaranth ; Noah,
oratorio ; Several masses, one for male
voices ; Requiem ; Te Deum ; Hymneu der
154
PRIERE
grieehiscli-katholischen Kirche (1847), and
other cliurch music ; Symphony ; 3 festival
marches for military band, with trio and
chorus ; String quartet ; Organ and piano-
forte music ; Choruses and songs. — Wurz-
bach ; Hanslick, Gesch. des Concertwesens
in Wien, 302, 355 ; Kochel, Die kaiserl.
Hof-Musikkapelle (Vienna, 1869), 113 ; Rie-
mann.
PRifcRE DU MATIN (Morning Prayer),
for two-part chorus, by Berlioz, published
by Escudier (Paris). It may be considered
as belonging to the Feuillets d' Album, op.
19.
PRINCES SANS APANAGES. See
Hamlet.
PRmCESSE JAUNE, LA (The Yellow
Princess), opcra-comique in one act, test by
Louis Gallet, music by Saint-Saiins, first rep-
resented at the Opera Comique, Paris, June
12, 1872. A young Dutch savant fancies
himself in love with a Japanese image, and
is indifferent to the love given to him by
his cousin. He drinks a potion and fancies
himself in Japan with his idol, who, to his
surprise, has the face and manner of his
cousin, and, arousing from his revery, he
falls in love with her. It was first sung by
Lht'rie and Mile Ducasse. Published by
Durand, Schojnewerk & Cie as op. 30 (Par-
is, 1872-73). German translation by von
Loen (Stuttgart, 1880).— Clement et La-
rousse, 808.
PRINCESS IDA, THE, or, Castle Ada-
mant, comic opera in two acts, with pro-
logue, text by Gilbert, music by Sullivan,
first represented at the Savoy, London, Jan.
5, 1884. It is called by its authors "a re-
spectful operatic perversion of Tennyson's
' Princess.' " It was given at the Fifth Av-
enue Theatre, New York, Feb. 11, 1884.
Published by Chajjpell & Co. (Loudon,
1884).— AthenfBum (1884), i. 63 ; New York
Tribune, Feb. 18, 1884.
PRINCESS, THE, overture for orches-
tra, by George E. Whiting, first performed
at a concert of the Apollo Club, Boston, in
the season of 1883-84.
PRmZ WALDMEISTER, romantic comic
opera, text by Heinrich Italiener, music by
Adolf Neuendorif, first represented at the
Thalia Theatre, New York, May 2, 1887 ;
at the Walhalla Theater, Berlin, Sept. 3,
1887. The libretto is an adaptation of Otto
Roquette's " Waldmeisters Brautfahrt."
PRISE DE TROIE, LA. See Les 2Voy-
e)is.
PRISON D'£dIMBOURG, LA (The
Prison of Edinburgh), opera-comique in
three acts, text by Scribe and Planard, mu-
sic by Carafa, first represented at the Opera
Comique, Paris, July 20, 1833. The li-
bretto is founded on Scott's romance " The
Heart of Midlothian." The opera was first
sung by Revial, Hebert, Mme Ponchard,
Mile Massj', and Clai-a Margueron. It was
first given in Vienna in 1835. Published
by Schott (Mainz, 1833-34), German trans-
lation by J. D. Anton (ib.) ; overture for the
pianoforte for four hands arranged by Ch.
Rummel (ib., 1835) ; Pianoforte score by
Joseph Rummel (ib., 1835). — Clement et
Larousse, 548 ; Allgem. mus. Zeitg., xxxvii.
576.
PROCH, HEINRICH, born at BOhmisch-
Leipa, Bohemia, July
22, 1809, died in Vi-
enna, Dec. 18, 1878.
Violinist ; studied law,
but made such pro-
gress in music, mean-
while, that he became
in 1834 a member of
the imperial orchestra
at Vienna, in 1837
Kapellmeister of the Josephstadt Theater
there, and in 1840-70 of the court opera.
In 1874 he was Kapellmeister of the short-
lived Comic Opera. Among his pupils were
Dustmauu, Tietjens, Csillag, Peschka-Leut-
ner, and Friedrich-Materna. Works— Op-
eras : Ring und Maske, Vienna, 1844 ; Die
Blutrache, ib., 1847 ; Der gefilhrliche
Sprung, ib., 1848 ; Masses, offertories, over-
tures, trios, quartets, and other insti-u-
meutal music, and many songs. —Heindl,
PEODANA
Gallerie beriibmter Piidagogen, etc., ii.
105 ; Hanslick, Gesch. des Concertwesens,
355, 3GG ; Wanderer (Vienna, 1847), 215 ;
Wurzbacli.
PRODANA NEVfiSTA (Die verkaufte
Braut ; Married for Money), Czech comic
ojjera in three acts, text by Sabiua, music
by Friedrich Smetana, first represented at
Prague, May 30, ISOG.
PEODIGAL SON, THE, oratorio by Ar-
thur S. Sullivan, written for and first per-
formed at the Worcester (England) Festi-
val, Sept. 8, 1869, with Sims Reeves as the
chief character. It was given by the Glas-
gow Choral Union, Nov. 16, 1870. Pub-
lished by Boosey (London, 18G9). — Athe-
DiEum (18G9), ii. 377 ; Upton, Standard
Oratorios, 293.
PROAIENADES D'UN SOLIT^UIIE
(Solitary Walks), three suites of comjiosi-
tions for the pianoforte, by Stephen Heller,
op. 78, op. 80, op. 8G. They express the
thoughts, not the person of the author,
which wander through field and forest, and
record his impressions of nature from a po-
etic but not realistic j)oint of view. Suite I.,
op. 78 : No. 1. Allegro vivo, in F-sharp
minor ; 2. Allegretto quasi allegro, in F ;
3. Allegro, in B-flat minor ; 4. Andante, in
B-flat ; 5. Allegretto con moto, in G ; G.
Assai vivace, in G minor. Suite IL, op. 80,
Wanderstunden (Reveries d'artiste) : No. 1.
Poco agitato, in C minor ; 2. Allegretto con
grazia, in D-flat ; 3. Allegro appassionato,
in B-flat minor ; 4. Lento con esi^ressioue,
in F ; 5. Assai vivace, in C minor ; G. Con
moto, in B-flat. Suite HL, op. 86, In
Wald und Flur : No. 1. Agrestement, in B-
flat ; 2. D'un mouvement tres-vif et pas-
sionnu, in D minor ; 3. Yivement etde bonne
humeui-, in D ; 4. D'un mouvement agite',
in G minor ; 5. Molto vivace, in F ; 6. As-
sai vivace, in A. — Barbedette, HeUer (Brown-
Borthwiek), 60.
PROJIETHEUS, by Beethoven. See
Vomini di Prometeo, Gli.
PROMETHEUS, overture for orchestra,
in C, by Woldemar Bargiel, op. 10, written
about 1864-65. Given by the New York
Philharmonic in the season of 1805-66.
Published by Breitkopf & Hilrtel (Leipsic,
1805).— Allgem. mus. Zeitg. (1805), 9.
PROMETHEUS, overture for orchestra,
by Ferdinand Hiller, first performed at the
Gewandhaus, Leipsic, Jan. 28, 1847 ; in
Dresden, in July, 1847. — Allgem. mus.
Zeitg., xlix. 70, 409.
PROMETHEUS, symphonic poem and
chorus to Herder's "Entfesselto Prome-
theus," by Liszt, op. 4, No. 5, written for
and first performed with the drama at the
Herderfest, Weimar, Aug. 25, 1850. It was
given in Vienna in 1800. Published by
Breitkopf & Hilrtel (Leipsic, 1850).— Pohl,
Liszt, 221, 232 ; Concertwesen in Wien, ii.
198 ; Revue et Gaz. mus. de Paris (1855),
352.
PR0PH1^.TE, LE, French opera in five
acts, text by Scribe, music by Meyerbeer,
first represented at the OiJura, Paris, April
16, 1849. This is the composer's third
grand opera, and, owing to its splendid dra-
matic and scenic eflects, has always been a
favourite one. The theme of the libretto
is John of Lcj'dcn, who was crowned Em-
Ijeror of Germany by his fanatical followers.
The time is 1534. The first act opens in
the suburbs of Dordrecht, Holland, with the
chateau of the Count of Oberthal in the
distance. Fidi'S, mother of John of Leyden,
and Bertha, his betrothed, imijlore the
Count's permission for the marriage. Struck
with her beauty, he claims Bertha for him-
self, and takes her and Fides prisoners. In
the meantime three Anabaptists from West-
ishalia, who arrive in Holland to kindle in-
surrection, take advantage of the Count's
action to incite his vassals against him.
The second act is in John of Leyden's house,
where he imparts his visions of future sov-
ereignty to the Anabaptists, who, perceiving
that he will aid theu- designs, assure him
that he shall be a ruler. As they depart.
Bertha, who has escajied, rushes in to claim
his protection. The furious Count follows
with a guard bringing Fides, whom he
1B6
PEOniETE
threatens to 1 ill unless Bertha ia restored
to him. To save the life of his mother,
John delivers up Bertha, and goes off with
the Anabaptists. The third act is in the
Pauline Viardot-Garcia.
Anabaptists' camp by a frozen lake, near
Mi'mster, which they are besieging. Skaters
enter, bringing provisions, and dance a gay
ballet. John of Leyden hears from the
Count of Oberthal, who is taken prisoner,
that Bertha has escaj)ed and is in Mi'mster,
which he rouses his followers to assault.
The fourth act is in Miinster, after its capt-
ure. Fidi'S, begging alms in the public
square, meets Bertha, disguised as a pil-
grim. The latter tells her intention to kill
the Prophets, whom she believes to have
caused John of Leyden's death. The next
scene, in the cathedral, where the Prophete
is to be crowned, is one of Meyerbeer's most
brilliant compositions. It forms a striking
contrast to the rest of the opera, so gloomy
with religious and political fanaticism, and
as a piece of glittering pageantry, with gor-
geous decorations, pealing bells, solemn
chants, and stately Coronation March, has
seldom been surpassed. Fides enters as the
Prophete is invested with supreme power.
and claims him as her son. John disowns
her, and through love she declares that she is
mistaken. The last act differs from history.
Instead of being condemned, John is be-
trayed by the Anabaptists. He visits Fidos
in prison, and she convinces him of his
error. Bertha enters, and, learning that
John is the Prophcte, stabs herself and dies.
The last scene is in the banquet-hall of the
palace, whei'e John is revelling. As the
Anabaptists and the Count of Oberthal
enter, and Fides rushes in to forgive him,
an explosion takes place — John's revenge —
and they all perish in the flames. Among
the principal numbers of this opera are :
The pastoral chorus, " La brise est muette ;"
the duet between Fides and Bertha, " Un
jour, dans les flots de la Meuse ; " " Le jour
baisse et ma mere," sung by John, ac-
companied by the chorus ; FidOs's grand
aria, " Ah ! mon fils, soit beni ! ; " the
Roger, as John of Leyden.
chorus of the Anabaptists in the third act,
" Du sang, du sang ; " the bass aria, " Aussi
nombreux que les etoiles ; " the Anabaptists'
trio, "Sous votre banuiere;" the chant,
157
PROSERPINA
" Eoi du ciel et des anges ; " Fides's coup-
lets imploriug charity, " Donnez pour
une pauvre ame ; " the chorus, " Le voila,
le roi prophete ; " Fides's cavatina, " O toi
qui m'abandonne ; " and the allegro, "II
en est temps encore." The part of Fides
(JM.-S.), the most interesting in the opera,
was created by Mme Viardot-Garcia, who
has never been equalled in this character.
Mme Castellan sang Bertha (S.), and M.
Eoger, John of Leyden (T.), in the original
cast This opera had received 348 rep-
resentations at the Paris Opera in 187G.
It was first given in Leipsic in 1850 ; in
Dresden, Jan. 30, 1850 ; in Milan, May 23,
1855 ; in Vienna, Nov. 8, 1855 ; in London
at Covent Garden, in Italian, with immense
success, Mme Viardot and Mario in the
chief parts, July 24, 1840 ; and first in New
York, Nov. 25, 1849. It was given in New
Tork by the German Opera Company at the
Metropolitan Opera House, Dec. 20, 1884.
Published by Brandus (Paris, 1849) ; by
Breitkopf k Hiirtel (Leipsic, 1850). Tran-
scription for the pianoforte by Franz Liszt.
Capriccio for the pianoforte by Stephen
Heller, op. 70, Breitkopf & Hiirtel (Leipsic,
1850). — Ck'ment et Larousse, 551 ; Lajaiie,
ii., 203 ; Mendel, Meyerbeer, GO ; Fctis,
vi. 125 ; Neue Zeitschr., xxxii. 49, 81 ;
Athenffium (1849), 416, 771, 794 ; Upton,
Standard Operas, 157.
PKOSERPINA KAPITA, Italian opera,
test by Giulio Strozzi, music by Monteverde,
first represented at the Palazzo Moceuigo, on
the occasion of the marriage of Lorenzo
Giustiniani with Giustiniana Mocenigo,
Venice, April 16, 1630. This opera was
given with gi-eat splendour, and the choruses,
dances, songs, and instrumentation created
immense enthusiasm. The score, dedicated
to the father of the bride, was published in
Venice, 1630. A copy of the MS. is in the
National Library of Florence. Same text,
music by Sacrati, Venice, 1644 ; same title,
intermezzo by Benedetto Ferrari, ib., 1641.
— Vierteljahrsschrift fiir Musikwissenschaft
(1887), 392.
PEOSERPINE, tragedie-iyrique in five
acts with prologue, text by (Juinault, music
hy Lull}', first repi'esented at Saint-Germain-
en-Laye, Feb. 3, 1680 ; at the Academie
Eoyale de Musique, Paris, Nov. 15, 1680.
The prologue shows the joys of Peace. The
scene represents the domain of Discord,
where Peace and her attendants Happiness,
Joy, Abundance, and Pleasure are chained.
Victory enters with Heroes, liberates Peace,
and confines Discord and her followers.
The libretto, a version of the Eape of Pros-
erpine, is one of Quinault's best, and is set
to music with great skill. Published by
Christophe Ballard (Paris, 1680 ; 2d ed.,
1714). Same text, reduced to three acts by
Guillard, music by Paisiello, Academie
Eoyale de Musique, Paris, Mai-ch 29, 1803.
Other operas on the same subject, in Ital-
ian, by Bonifazio Asioli, Correggio, 1784 ;
by Joiio Cordeiro da Silva, Lisbon, 1784 ;
by Peter von Winter, text by Da Ponte,
London, 1804 ; by John Franc Westmore-
land, ib., 1845. Ballet by Batistin (Struck),
Versailles, about 1713 ; ballet by Schneitz-
hoffer, text by Gardel, Paris, 1818 ; and
The Loves of Pluto and Proserpine, or the
Eape of Proserpine, intermezzo for the
English pantomime, by John Ernst Gal-
liard, London, 1725. — Clement et Larousse,
554 ; Lajarte, i. 3G ; ii. 28.
PEOSEEPINE, French opera in four
acts, text by GaUet, after a poem by Bac-
querie, music by Saint-SaC-ns, rej)reseuted
at the Opera Comique, March IG, 1887.
Mile Salla sang the pai't of Proserpine, and
the original cast included Mile Simonnet,
Taskin, and Lubert. This opera was not a
success. — Neue Zeitschr. (1887), 136.
PEOT, FELIX JEAN, born at Senlis,
France, in 1747, died in Paris in 1823.
Violinist, pupil of Desmarais, and in har-
mony of Gianotti in Paris, whither he went
earlj' in life. In 1775 he entered the or-
chestra of the Comedie Franyaise as viola
player, and in 1822 was pensioned. Works
—Operas : Le bal bourgeois, Les reveries,
1779 ; Le printemps, 1787 ; Symphonic con-
1S8
PROTTI
certante for 2 violas ; 6 duos concertants for
do. ; Duos for 2 violins. — Fetis ; Mendel.
PROTTI, JOSE, born at Malson, Bale-
aric Isles, in 1827, still Uving, 1890. Dra-
matic comj)oser ; settled at Marseilles about
1843, became organist of Saint-Theodore,
and in 1856 of Saint-Vincent de Paul.
Works : Gacela, Spanish opera ; Les gardes
franyaises, ojjera-comique, Marseilles, 1856 ;
Le tresor de Jeannot, ib., 1877 ; Mass ;
Stabat Mater, and other church music ;
Morceaux de genre, for pianoforte. — Fetis,
Supplement, ii. 371.
PROUT, EBENEZER, born at Oundle,
Northamjit o u s h i r e,
England, March 1,
1835, still living, 1890.
Instrumental and vo-
cal comjjoser, and
writer on music ; stud-
ied pianoforte under
Charles Salamau. He
won in 1862 the first
prize of the Society of
British Musicians for
the best string quartet, and in 1865 for a
pianoforte quartet. In 1871-71 he was
editor of the "Monthly Musical Record,"
and since successively musical critic of the
"Academy" and the "Athenaeum." Con-
ductor of the Borough of Hackney Choral
Association, 1876 ; professor of harmony
and composition at the National Training
School for Music, 1876 ; at the Royal Acad-
emy of Music, 1879 ; at Guildhall School
of Music, 1884. "Works : Love and Taxa-
tion, comic opera, 1883 ; Hereward, cantata,
1878 ; Alfred, do., London, 1881 ; Queen
Aimee, do., for female voices, 1885 ; Hail to
the chief, chorus with orchestra, 1877 ;
Freedom, do., 1885 ; Magnificat for solo
voices, chorus, and orchestra, 1873 ; The
100th Psalm, for soprano solo, chorus, and
orchestra, 1886 ; Overture to Twelfth-
Night, 1880; 4 symphonies, 1873, 1876,
1884, 1886 ; Minuet and trio for orchestra,
1877 ; Suite for do., 1878 ; 2 concertos for
organ and orchestra, 1870, 1883 ; Quintet
for pianoforte and strings, 1860 ; 2 quar-
tets for do., 1865, 1881 ; 2 do. for strings,
1862, 1881 ; Sonata for pianoforte and flute ;
do. for organ ; Concertante duet for piano-
forte and harmonium ; 2 Evening Services ;
Morning and Communion Service ; Magni-
ficat and Nunc dimittis, in D ; etc. He is
author also of " Harmony, its Theory and
Practice " (London, 1889), and a contribu-
tor to Grove's Dictionary. — Grove ; Men-
del, Ergilnz., 3C6 ; Riemann.
PROVENZALE, FRANCESCO, Neapoli-
tan church composer of the 17th century, and
one of the most learned and esteemed
masters of the Conservatorio dclla Pieti de'
Turchini, at Najsles. Works ; Pauge lingua,
for 9 voices, with orchestra ; Tantum ergo
and Genitori, for soprano solo and organ,
with chorus ; La colomba ferita, sacred
drama, 1069 ; La Geneviefa, oratorio ; L' in-
fedeltii abbattuta, do. — Fetis ; Mendel.
PRUDENT, EMLE (BEUNIE-), born at
Angouleme, Feb. 3,
1817, died in Paris,
May 14, 1863. Pi-
anist ; received his
first lessons from a
pianoforte tuner who
had adojited him ,
then pujsil of Le-
couppey, Laurent,
and Zimmerman, at
the Paris Conservatoire, which he entered
at the age of ten. He won in 1833 the first
prize for pianoforte, and in 1834 the second
prize for harmony. After Thalberg's ap-
pearance in Paris in 1836 he formed his
style in imitation of that virtuoso, and es-
tablished his reputation by a concert given
at Rennes in 1840. He first appeared in
Paris in 1842, and thenceforth made many
concert tours in France and abroad, played
a concerto of his own at the London Phil-
harmonic in 1848, and was heard at the
New Philharmonic Concerts in 1853. He
was much sought as a teacher, and formed
several distinguished pupils. Works : Les
trois reves, coucerto-symphonie for piano-
159
PEUME
forte and orchestra ; Concerto in B-flat, for
do. ; Trio for pianoforte and strings ; Etudes
and transcrij)tions with and without vari-
ations ; Morceaus de genre, etc. — Fetis ;
Grove ; Mendel ; Eiemann.
PKIBIE, FEANgOIS HUBEKT, born at
Stavelot, near Liege, June 3, 1816, died
there, July 14, 1849. Virtuoso on the vio-
lin, son of the organist of his native town ;
sent, when five years old, to Malmc'dy to
study under a violinist ; entered in 1827 the
newly opened Conservatoire at Liege, and
in 1830 that of Paris, where he became a
pupil of Habencck. He was appointed in
1833 professor at the Liege Conservatoire ;
started iu 1839 on a concert toui', visiting
Frankfort, Leipsic, Berlin, Prague, Sweden,
Norway, Denmark, and Russia, and returned
in 1842 to Stavelot. He afterwards played
in Brussels, Ghent, Antwerp, and visited
some of the German cities, playing with
Liszt at Gotha, spent the winter of 1844
iu Paris, and was recalled to Liege as chief
professor of violin. When not quite thirty
he was afflicted with an incurable disease
of the eye, which resulted iu total blind-
ness. Works : La molancholie, for violin
and orchestra or pianoforte, op. 1. (Paris) ;
Concertino, for do. ; Morceau de concert, for
do. ; Grande polonaise, for do. ; 6 grandes
etudes.— Fetis ; Hart, The Violin, 323 ; Men-
del ; Eiemann ; Schilling, Supplement, 350.
PEU:\HER, ANGE CONEAD, bom about
18-21, died in Paris, April 3, 1884. Harp
jjlayer, son and pupil of Autoiue Piiimier at
the Conservatoire, where he won in 1836 the
second pi'ize, in 1838 the first, and iu 1843
the first prize for fugue. He succeeded his
father at the Opi'-ra Comique, and after-
wards entered the orchestra of the Opera.
In 1870 he became professor at the Conser-
vatoire. Works : Soli and etudes for haii^ ;
2 nocturnes for horn and harp ; Offertory
for military band ; Les trois Nicolas, fan-
taisie for do. ; Les quatre fils Aymon,
march ; O salutaris, Agnus Dei, Ave verum,
Tantum ergo, for tenor, etc. — Fetis, Sup-
plement, ii. 371.
PEXBHER, ANTOmE, bom in Paris,
July 2, 1794, died there, Jan. 20, 1868.
Virtuoso on the hai-ji, pupil of his mother,
a clever amateur ; then, at the Conservatoire,
of Catel in harmony, winning in 1812 the
second prize. After this he was comjjellcd
by militai'y law to enter the £cole Polytech-
nique, but in 1815 gave up mathematics,
and finished his studies at the Conservatoire
as a pupil of Eler iu counterpoint. He be-
came harpist at the Theatre Italien, and iu
1835 at the Opera Comique ; and in the
same year succeeded Nadermann as pro-
fessor of the harp at the Conservatoire,
where he formed a number of well-known
pupils. Legion of Honour in 1845 ; vice-
president, seventeen yeai-s consecutively, of
the Association des artistes musiciens ; re-
tired in 1867 from the Conservatoire. He
published about a hundred fantaisies, ron-
dos, and airs with variations, for hai-p
(Paris). — Fetis ; Grove.
PSALM XLH. (Wie der Hirsch sehreit),
set to music by Mendelssohn, for chorus,
soli, and orchestra, op. 42, first performed
in Leipsic, Jan. 1, 1838. Published by
Breitkopf & Hiirtel (Leipsic, 1839) ; ar-
ranged for j)ianoforte for four hands by E.
F. Eichter (ib., 1841). Breitkopf & Hiirtel,
Mendelssohn Werke, Serie xiv., No. 89.
— Allgem. mus. Zeitg., xli. 119, 289 ; Eeiss-
mann, Mendelssohn, 211.
PSALM XL"VT. (God is our refuge), set
to music for chorus, soli, and orchestra, by
Dudley Buck, and first performed by the
Handel and Haydn Society, Boston, May 7,
1874.
PSALM XC\Tn. (Singet dem Herrn ein
neues Lied), set to music by Mendelssohn,
for eight-voice chorus and orchestra, op. 91,
first performed at the festival sei-vice in the
Berlin Cathedral, New Tear's Day. 1844.
Published by Breitkopf & Hiirtel, Mendels-
sohn Werke, Serie siv., No. 92.
PSALM CXIV. (.41s Israel aus Aegypten
zog), set to music by Mendelssohn, for
chorus of eight voices and orchestra, op.
51, first performed in Leijjsic, Jan, 1, 1840,
PSALM
It was composed in 1838-39, and dedicated
to the painter J. W. Schirmer, of Diissel-
dorf. It was sung at the Niederrheinische
Musikfeste in 1883 and in 1888. Breitkopf
& Hiirtel, Mendelssolin Werke, Serie xiv.,
No. 91. — Allgem. mus. Zeitg., xlii. 2G ;
xliii. 289.
PSALM CXV. (Nicbt uuserm namen,
Herr), Non nobis Dominc, set to music by
Mendelssohn, for chorus and orchestra, op.
31, first performed in Leipsic, Feb. 8, 1838.
Published by Simrock (Bonn, 183G). Breit-
kopf & Hiirtel, Mendelssohn Werke, Serie
xiv.. No. 88. — Allgem. mus. Zeitg., xL 111 ;
Neue Zeitschr., iv. 133.
PSYCHE, cantata, text by Lobedanz, mu-
sic by Gade, op. CO, first performed at the
Birmingham (England) Festival, under the
composer's direction, Aug. 31, 1882, with
Mme Marie Eoze as Psyche and Mr. Santley
as Eros. It was well received, and is full
of graceful melodies. It was first given in
London by the Highbury Philharmonic So-
ciety, Nov. 27, 1882. Published by Ewer
& Novello, London. — Athenaium (1882), ii.
347.
PSYCH15, tragedie-lyrique in five acts,
text by Corneille, music by LuUy, first rep-
resented at the Acadenue Royale de Mu-
sique, Paris, April 9, 1G78. Fontenelle
claimed to have written the text. The
words of one trio, "Deh, j)iangete al pianto
mio," are written in Italian. The part of
Psyche was sung by Mile Desmatins and
fillle Journet ; Amour, by Cochereau ; Ve-
nus, by Mile Maupin and Mile Heuse, and
Psycht-'s father, by Thevenard. Published
by'christophe Ballard (Paris, 1720). Lully
also wrote music for a tragi-comedie-ballet
in five acts, text by Moliere, Quinault, and
Pierre Corneille, first represented at the
Tuileries, Jan. 17, 1G71, and at the Palais
Royal, July 24, 1G71. It was revived of
recent years at the Comedie Franjaise,
Paris. — Lajarte, i. 33 ; Hogarth, i. 44 ;
Clement et Larousse, 556.
PSYCHE, opera-comique in three acts,
text by Jules Barbier and Michel Carre,
music by Ambroise Thomas, first rep-
resented at the Opera Comique, Paris,
Jan. 26, 1857. Original cast : Psyche, Mile
Lefebvre ; Eros, Mme Ugalde ; and Mer-
cure, M. Bataille. This is a delicate and
gracefid composition ; it was revived in
Paris with additions. May 21, 1878. Other
operas on the same subject : In Italian, La
Psiche, intermezzo in two acts, by Ales-
sandro Striggio, represented during the
marriage of Francesco de' Medici and
Jeanne d'Autriche, Florence, 1565 ; Cuindo
e Psiche, by Marco Scacchi, Dantzic, 1634 ;
Psiche cercando Amore, sereuata by Antonio
Draghi, Vienna, 1688 ; Psiche, by Benedetto
Marcello, text by Cassani, Venice, 1711 ; by
J. J. Fux with Caldara, test by Pariati, Vi-
enna, Nov. 19, 1720 ; by J. J. Fux alone, ib.,
Oct. 1, 1722 ; Le nozzedi Psiche con Amore,
by Leo, Naples, 1738 ; L' Amore e Psiche,
by J. F. Agricola, textby Laudi, Berlin, Oct.
5, 1767 ; and Amore e Psiche, by Josef
Schuster, Naples, 1780 : in French, Psyche,
ballet by Blaise, Paris, about 1755 ; L'A-
mour et Psyche, by J. J. Cassanea de Mon-
donville, Paris, June 24, 17G0 ; Psyche et
I'Amour, by Saiut-Amans, text by the Abbe
Voisenon, Brussels, 1778, Paris, 1782 ; :fiti-
enne Nicolas Mehul, same text, ib., 1785 ;
and L'Amour et Psyche, by August Pilati,
Paris, Dec. 13, 1856 : in English, by Matthew
Lock (with Giovanni Baptista Draghi), text
by Shadwell after Quinault, London, 1675 ;
parodied as Psyche Debauched, by Th. Dai-
fet, same music, ib., 1675 : in German, Die
wunderschOne Psyche, by Eeinhard Keiser,
text by Postel, for the birthday of Queen
Sophie Charlotte of Prussia, Hamburg, Oct.
20, 1701 ; Psyche, ballet by J. J. Rodolphe,
Stuttgart, 1762 ; Amor und Psyche, by F.
L. Gassmann, Vienna, Oct. 5, 1767 ; Psyche,
by Karl Beruhard Wessely, Berlin, 1789 ;
Psyche, by Peter von Winter, Munich,
1793 ; and Amor und Psyche, by Johann
Christian Abeille, Stuttgart, 1801.— Clement
et Larousse, 556 ; Revue et Gaz. mus. de
Paris (1857), 33 ; Hanslick, Musikalische
Stationen, 120.
161
PUCCINI
PUCCmi, ANTONIO, born at Lucca in
1747, died there, Feb. 3, 1832. Church
comi^oser, son of Giacomo Puccini (1712-
81, organist and maestro di cappella of the
republic of Lucca), pupil of Caretti at Bo-
logna ; in 1781 succeeded his father at
Lucca. Member of the Accademia Filar-
monica, Bologna. Works : Masses, psalms,
motets, for 2 to 8 voices ; Requiem for
the obsequies of Emperor Joseph U. ; 20
services, with orchestra, for the feast of St.
Cecilia. — Fetis ; do., Supplement, ii. 372.
PUCCINI, DOJIENICO, born at Lucca
in 1771, died there. May 2.5, 1815. Dra-
matic and church comjjoser, son of the lire-
ceding ; studied first in his native city, then
at Bologna under Padi-o Mattel and at Na-
ples under Padi-e Tesei. After his return
to Lucca ho was appointed maestro di cap-
pella of the republic, replacing his father.
Works — Operas : Quinto Fabio ; H ciarla-
tano ; Le frecce d' Amore ; La moglie ca-
pricciosa ; L' ortolanella. Masses, vespers,
psalms, hymns, motets, Te Deum for 2 to
8 voices ; Grand motet, for IG voices and
double orchestra ; Several cantatas. — Fetis,
Sujjplcment, ii. 372.
PUCCINI, mCHELE, born at Lucca,
Dec. 27, 1813, died there, Jan. 23, 1864.
Dramatic and church composer, son of the
preceding, pupil of Fauucchi on the piano-
forte and in theory, and of Padre Santucci
and Eugeuio Galli in hai-mony and counter-
point ; then at Bologna pupil of POoti, and
at Naples of Mercadante. After his return
to Lucca, in 1841, he was made director of
the musical institute. Works : Antonio
Foscarini, opera ; Cattani, o la rivoluzione
degli Straccioni, do. ; 2 masses ; Miserere
and Benedictus ; Several motets, for 2 to 4
voices, with and without orchestra ; 8 ser-
vices for 4 voices and orchestra ; Composi-
tions for 8 voices and 2 orchestras. — Fetis,
Supplement, ii. 372.
PUCCITA (Pucita), \TNCENZO, bom at
Civita Vecchia in 1778, died in Milan, Dec.
20, 1861. Dramatic composer, pupil at the
Conservatorio della Pietu, Naples, of Fena-
roli and Sala. He wrote several small op-
eras before I due prigionieri, Rome, 1801,
made him widely known. In 1806 he went
to London as musical director at the opera.
He travelled with Madame Catalani, as ac-
companist, through Scotland, L'eland, Hol-
land, Belgium, and the Rhine countries,
and followed her to Paris when she as-
sumed the direction of the Italian opera
there. About the end of 1817 he returned
to Italy and settled in Rome. Works :
L' amor platonico, Lucca, 1800 ; Le uozze
senza sposa, Pai-ma, 1800 ; H fuoi-uscito,
Milan, 1801 ; I due prigionieri, Rome, 1801 ;
n puntiglio, Milan, 1802 ; Teresa Wilk, la
fiuta pazza ; Audromacca, Lisbon, 1806 ;
II marchese d' un giorno, ossia gli sposi
fehci, Leghorn, 1808 ; La vestale, Loudon,
1809 ; Le tre sultane, ib., 1811 ; Laodicea,
ib., 1813 ; L' orgogUo avvilito, Paris, 1815 ;
La caccia di Enrico IV., ib., 1816 ; La prin-
cipessa in campagna, ib., 1817 ; La festa
del ^iUaggio, Rome, 1821 ; I prigionieri,
Venice, 1831 ; Adolfo e Chiara, Milan, 1833.
— Fetis ; MeudeL
PUGET, LOlSA, bom in Pai-is about
1810, died in Pau, 1889. Vocal composer ;
she won extraordinary popularity in the reign
of Louis PhUippe by her songs, composed
to words by Gustave Lemoine, whom she
married in 1842. Among the best known
are : A la grace de Dieu ; Ave Maria ; Le
soleil de ma Bretagne ; Ta dot ; Mon pays ;
Les rcves d'une jeune fille. After study-
ing composition under Adolphe Adam, she
jjroduced Le mauvais ceil, at the Opera Co-
mique, in 1836; and La veilleuse, ou les nuits
de milady, operetta, at the Gymnase, 1869.
Her songs were published in albums which
appeared every vear. — Fetis ; Mendel.
PUGET, PAUL CHARLES MARIE
CURET-, bom at Nantes, June 25, 1848, still
living, 1890. Dramatic composer, pupil at
the Paris Conservatoire of Marmontel on
the pianoforte, of Bazin in harmony, and of
Masse in comijosition. He won the prix
de Rome, 1873, for his cantata Mazeppa.
Other works : Les jardins d'Armide, opera-
162
PUGNANI
bouffe ; Le maitre danseur, Bouffes-Pari-
siens, 1869 ; La Marocaine, opora-comique,
Thoutre Lyrique ; Andrea del Sarto, lyric
drama. — Futis, Supplc'ment, ii. 372.
PUGNANI, GAETANO, bora in Turin
in 1727, died there
in 1803. Virtuoso
on the violin, one of
the best represent-
atives of the Pied-
montese school,
pujjil of Somis, who
liad studied under
CorelU, then in
Padua of Tartini.
He combined the
prominent qualities of style and technique
of both these great masters. He was first
violin in the court orchestra at Turin in
1752 ; he travelled in 1751-70, plaj-iug at
the Concerts Spirituels in Paris, and sjsend-
ing several years in London, where he
was for a time leader in the orchestra of
the Italian opera. In 1770 ho returned
to Turin, became maestro di cappeUa of the
royal theatre, and ofiened a violin school
which became famous for its pupils, among
whom were Viotti, Conforti, Buini, and Pol-
ledro. To him may be said to be due the pre-
servation of the grand stylo of Corelli, Tar-
tini, and Vivaldi, and its transmission to the
next generation of riolinists. Works — Ojie-
ras : Tamas Koulikan, Turin, 1772 ; Adone
e Venere, Naples, 1784. Nanetta e Lubino,
opera bufia, Turin, 1781 ; Achille in Sciro,
ib., 1785 ; Demetrio a Eodi, 1789 ; Coreso
e Calliroo, ballet, 1792. Two cantatas :
Issea, 1771, and 1' Aurora, 1775. Nine con-
certos for violin ; 12 octets (symphonies)
for string quartet, 2 oboes, and 2 horns ; 6
quintets for 2 violins, 2 flutes, and bass ; G
quartets for strings ; 3 sets of trios, 2 do.
of duos, for violins. — Fetis ; Mendel ; Schil-
ling ; Wasielewski, Die Violine, 103 ; Hart,
The Violin, 22G ; Dubourg, The Violin,
87.
PUGNI, CESAEE, bom in Milan in 1805
died at St. Petersburg in January, 1870.
Dramatic composer, pufjil in 1815-22 of
Asioli at the Milan Conservatorio. About
1810 he went to St. Petersburg, where for
thirty j'ears be composed ballets almost ex-
clusively. Works : H disertore svizzero, o
la nostalgia, Milan, 1831 ; La vendetta,
ib., 1832 ; Eicciardo di Edimburgo, Trieste,
1832 ; H contrabandiere, Milan, 1833 ; Un
episodio di San Michele, ib., 1834. Among
his ballets are : Le fucine di Vulcano, Pai-ma,
182G ; Eutichio della Castagna, Pelia e
Mileto, Milan, 1827 ; Esmeralda, ilj., 1845 ;
La fille de marbre, Paris, 1847 ; Edoardo,
ib., 1848 ; La vivandiere, ib., 1848 ; Le
violon du diable, ib., 1849 ; Stella, ou les
contrebandiers, ib., 1850 ; Le marche des
innocents, ib., 18G1 ; Diavohna, ib., 1863 ;
Gli elementi, ib., 1866 ; La momie, St.
Petersburg, 1862 ; etc. — Fetis ; do.. Sup-
plement, ii. 373.
PUIG, BERNARDO CALV6, born at
Vich, Spain, Feb. 22, 1819, still living (?),
1890. Organist and singer, pupil of Jos6
Gallt's, and in composition of Francisco Bo-
namieh ; then at Barcelona pupil of Jose
Rose's and of Juan Quintana, the latter of
whom ho succeeded as organist of Nuestra
Dama del Pino. He resigned this post to
become contralto in the Chapel of Santa
Maria del Mar, and afterwards at the ca-
thedral. In 1853 he was appointed maestro
de capiUa of the Church de la Merced.
Works : Carlo il temerario, opera ; L' astro-
nomo, comic opera ; Un novio en dos per-
sonas, zarzuela ; Don Gumersindo ; Don
Francisco de Quevedo ; 2 oratorios ; Stabat
Mater ; Miserere ; Service for the month of
May ; About 200 hymns, motets, psalms,
etc. — Fetis, Supplement, ii. 374.
PUITS D'AMOUR, LE (The Well of
Love), opora-comique in three acts, text by
Scribe and de Leuven, music by Balfe, first
represented at the Opera Comique, Paris,
April 20, 1843. A young king, fidouard,
lives a gay life with his noblemen, and
forces them to throw him into the puits
d'amour. This leads into a subterranean
hall, a rendezvous for the adventurous lords.
1U3
FUriLLE
A young girl, Geraldine, throws herself into
the well, because she was forced to renounce
her lover Tony, the sailor, in reality Lord
Salisbury, by the king, who wanted her for
a waiting woman to his betrothed, the Prin-
cesse de Hainault. Guraldiue, arriving in
the haU among the noblemen, who are dis-
guised as demons, believes herself to be
dead and in hell, but Salisbury, who is
among them, protects her. Edouard is
seized by the sheriff, is released, pardons
the shei-iflf, and consents to the union of
Salisbury with Geraldine. The opera was
first given in London, as Geraldine, English
translation by Gilbert a Becket, in August,
1843. It was given in Vienna as Der Lie-
besbrunnen in 1845. — Clement et Larousse,
557 ; Athenanim (1843), 757.
PUPILLE SDEGNOSE !, contralto aria
of Muzio, in D major, with accompaniment
of oboes and violins in unison, and bass, in
Handel's Muzio Scveola, Act III., Scene 3.
Published also separatclj', with the accom-
paniment filled out by Robert Franz (Leixj-
sic, Kistner).
PUPPO, GIUSEPPE, born in Lucca,
June 12, 1740, died in Florence, April 19,
1827. Violinist, pupil at the Naples Con-
servatorio ; became a virtuoso in Italy at an
early age. He went in 1775 to Paris, thence
to Spain and Portugal, where he is said to
have amassed a considerable fortune, and
after spending several years in London re-
turned in 1784 to Paris, where he became
first violin at the Theatre de Monsieur, and
then at the Feydeau, and finally conductor
of the orchestra at the Theatre Fran<;ais.
In 1811 he left Paris suddenly, abandoning
his wife and children, and was next heard
of in Naples, where he was conductor at a
theatre ; he went thence to Lucca and to
Florence, where he finally died in destitu-
tion in a hospice. His published comijosi-
tions, consisting of duos, concertos, and fan-
tasias for violin and pianoforte, are few and
of little importance. — Grove ; Fotis ; Men-
del ; Hart, The Violin, 231 ; xiii. 423 ; Wa-
sielewski. Die Violine, 126.
PURCELL, DANIEL, born in London in
1660, died there. Dee. 12, 1717. Organist,
brother of Henry Purcell ; was organist
of Magdalen College, Oxford, in 1G88-95,
and of St. Andrew's, London, in 1713-17.
Works — ]\Iusic to dramas : Love's last Shift
(Cibber), 1G90 ; Indian Queen, 1G9G ; Bru-
tus of Alba, or Augusta's Triumph, 1697 ;
Cynthia and Endymion (D'Urfey), 1697 ;
PhaOton, or the fatal Divorce, 1698 ; The
Island Princess (Motteaux), with Clark and
Leveridge, 1699 ; The Grove, or Love's
Paradise, 1700 ; The unhappy Penitent,
1701 ; The Inconstant (Farquhar), 1702 ;
The Judgment of Paris, a pastoral (Con-
greve), 1700. Odes, psalms, instrumental
and church music, and songs.
PURCELL, HENRY, the younger, born
in Old Pye Street,
Westminster, in or
about 1658, died in
Dean's Yard, West-
minster, Nov. 2 1,
1695. The second
son of Henry Purcell
the elder (Gentle-
man of Chapel Roy-
al, IGGO ; member
Royal Band, 1663;
died, 1G64), he lost his father when still a
boy. He entered the Chapel Royal, where
he studied under Cooke and Humphrey,
and received instruction also fi'om Dr.
Blow. In 1675, when only seventeen, he
got an order from Josias Priest, a theatrical
dancing-master, to write an opera on Tate's
Dido and 53neas, to be given at his " board-
ing school for young gentlewomen." The
success of this work, though in somewhat
restricted circles, was such that Purcell
soon had orders to write overtures, songs,
and incidental music to several plays bj-
Dryden, Shadwell, and Jlrs. Behn. The
last works of this, his first period, were
music to Shadwell's version of Shakespeare's
"Timon of Athens," Lee's " Theodosius,"
and D'Urfey "s," The Virtuous Wife." In 1680
he was appointed organist at Westminster
^'P^t
164
PUllCELL
Abbey, and for the next six years wrote
nothing for the stage, but composed several
occasioual cantatas, " Welcome Songs " to
the King, and twelve sonatas for two violins
and continuo. In 1082 ho was appointed
organist to the Chapel Royal. In 168G he
began once more to write for the stage,
with music to Dryden's " Tyrannic Love,"
which was followed by music to other plajs,
until iu 1G90 he l)rought out his first real
opera, Dioclesian. Next year followed his
masterpiece. King Arthur, the score of
which was published by the Musical Anti-
quarian Society in 1S43. From this time
to his death he continued writing operas
and incidental music to plays, as well as
sacred music in various forms. His death
is said to have been Ijrought on by a cold
caught while waiting one night at bis own
door, his wife having locked him out as a
punishment for keeping late hours ; but
it is more probable that the true cause was
consumption. He retained all his faculties,
and even his full musical creative power, to
the last, and one of his best works, the
cantata, " From rosy bowers," was written
during his last illness. He left all his prop-
erty to his wife, making her solo executrix.
He was buried on Nov. 2G, 1G95, under the
organ in the north aisle of Westminster
Abbey. Purcell was without doubt the
greatest, perhaps the only really great, mu-
sical genius England has ever given to the
world. He was the originator of a form of
English opera which was followed almost
universally for over a century and a half,
and was even, in a certain sense, the father
of characteristically English melody. His
chief model in di-amatic music, and the
composer whose works he principally stud-
ied, was Jean Baptiste LuUy ; but he far
surpassed his model in wealth of melody,
while he equalled him in dramatic power.
He was equally great in dramatic and
church composition, and Handel studied
his odes and anthems with avidity. His
instrumental chamber-music, although long
since obsolete, was remarkable for its day.
If, instead of dying at the age of thirty-
seven, he had lived to see Italian opera
introduced into England, and, most of all,
enjoyed an artistic intercourse with Handel,
the very greatest things might have been
ex25ected of him. As it is, ho shares an
undeserved oblivion — as far as the musical
world at large is concerned — with all other
composers of the pre-Handelian period.
A Purcell Club, organized in London in
183G, existed until 18G3. During this
Birthplace of Purcell.
period many of Purcell 's works were per-
formetl and published. The valuable li-
brary of the club was given to Westminster
Abbey. A commemoration to celebrate the
bicentenary of Purcell's birthday was held
in London, Jan. 30, 1858. On Feb. 21,
1S7G, a Purcell Society was founded to pub-
lish his MS. and to perform his works.
Works — I. Operas and music to tragedies
and comedies, all brought out in London :
Dido and J3ueas (text by Nahum Tate),
1G75 (published in score by the Musical
Antiquarian Society, 1840) ; Aurenge-Zebe
(Dryden), 1G7G ; Epsom Wells (Shadwell),
1G76 ; The Libertine (do.), 1G7G ; Abdelazor
(Mrs. Behn), 1G77 ; Timon of Athens (Shad-
well's adaptation of Shakespeare), 1678 ;
Theodosius, or the Force of Love (Nat. Lee),
1G80 ; The Virtuous Wife (D'Urfey), 1G80 ;
A Fool's Preferment (do.), 1G88 ; The Tem-
pest (Shadwell's adaptation of Shakcsiseare),
1690 ; The Prophetess, or the History of
Dioclesian (Betterton, after Beaumont and
Fletcher), 1690 (published in score by sub-
165
PUECELL
scription, 1691) ; The Massacre in Paris
(Nat. Lee), 1690 ; King Ai'thur (Dryden),
1691, and with additions by T. A. Ai-ne,
1770 (pubhshed in score by the Mus. Antiq.
Soc, 1843) ; Distressed Innocence, or the
Princess of Persia (Elkanah Settle), 1691 ;
The Gordian Knot untyed, 1691 ; Sir
Anthony Love, or the Rambling Lady
(Southerne), 1G91 ; Amphitryon (Dryden),
1691 ; Tlie Indian Queen (Howard and Dry-
den), 1692 (published in part by May and
Hudgebutt, 1695, and entire by Goodison) ;
The Indian Emperor (Dryden, sequel to the
foregoing), 1692 ; Cleomenes (do.), 1692 ;
The Wives' Excuse (Southerne), 1692 ; The
Marriage Hater match'd (D'Urfey), 1692 ;
CEdipus (Dryden and Lee), Act HL, 1692 ;
The faii'y Queen (anonymous adai^tation of
Shakespeare's Midsummer Night's Di'eam),
1692 ; The Old Bachelor (Congreve), 1693 ;
The Eichmond Heiress, or a Woman once
in the Eight (D'Urfey), 1693 ; The Maid's
last Prayer (Southerne), 1693 ; Henry the
Second (Bancroft), 1G93 ; Don Quixote
(D'Urfey), Parts I. and H., 1694 ; The
Double Dealer (Congi'eve), 1694 ; The Mar-
ried Beau (Crowne), 1694 ; The Fatal Mar-
riage (Southerne), 1604 ; Love Triumphant
(Dryden), 1694 ; lionduca (PoweU, after
Beaumont and Fletcher), 1695 (published
in score by the Mua. Antiq. Soc.) ; The
Mock Marriage (Scott), 1695 ; The Eival
Sisters (Gould), 1695 ; Oroonoko (South-
erne), 1695 ; The Canterbui-y Guests (Ea-
venscroft), 1695 ; The Knight of Malta
(Beaumont and Fletcher), 1695 ; Don Quix-
ote (D'Urfey), Part HI., 1695 ; Circe (Charles
Davenant), Act I. (never perfonned, and
not surely authentic).
IL Odes : Address to the King, 1669 ;
Elegy on the death of Matthew Lock,
1677 ; Welcome song for His Eoyal High-
ness's return from Scotland, What shall be
done in behalf of the man?, 4-part sym-
phony, solo, and 4-part chorus, 1680 ; Song
to welcome His Majesty home from Wind-
sor, 1680 ; Ode for the King, Swifter, Isis,
swifter flow, 4-part symphony, solo, and
chorus, 1681 ; Ode to the King on his re-
turn from Newmarket, Oct. 21, 1682 ; Ninth
Ode of Horace imitated in a dialogue be-
tween the poet and Lydia ; Music for the
Lord Mayor's show, 1682 ; Three odes for
the festival of St. Cecilia, 1683 ; Welcome
song for the King, Fly, bold rebellion,
1683 ; Ode for Prince George of Denmark's
marriage with the Princess Anne, From
hardy cHmes, 1683 ; St. Cecilia's Ode,
1684 ; Ode to welcome the King on his re-
turn to Whitehall after his summer's j)ro-
gress, 1684 ; Ode in honour of the King,
Why are all the Muses mute ?, 1685 ; Ode
for the King, Ye tuneful Muses, 1686 ;
Elegy on the death of John Playford the
younger, text by Mi-. Tate, 1687 ; Ode for
the King, Sound the trumpets, beat the
drum, 1687 ; Ode for the King, 1688 ; Ode,
"At the Prince of Denmark's coming home,"
1689 ; Arise, my muse, D'Urfey's ode for the
Queen's birthday, April 29, 1690 ; Sound
the trumpet, ode for King William, 1690 ;
Ode for the Queen's birthday. Welcome,
glorious mora, 1691 ; Sir Chai-les Sedley's
ode. Love's goddess sure was blind, for the
Queen's birthday, 1692 ; Brady's ode. Hail,
great Cecilia, for the anniversary of St.
Cecilia, 1692 ; Commemoration ode for
Trinity College, Dublin, Great Parent, hail,
1693 ; Celebrate this festival, ode for the
Queen's birthday, 1693 ; Come, come, ye
sons of art, ode for the Queen's birthday,
1694 ; The art of descant, ode for John
Plaj'ford, 1694 ; Who can from joy refrain?,
a birthday ode for the Duke of Gloucester,
1695.
ni. Church music and anthems : O God,
thou art my God, 4q)art anthem ; O God,
thou hast cast us out, 6-part anthem ; O
Lord God of Hosts, 8-part anthem ; Thy
way, O God, is hol^', 2-part anthem ; Be
merciful unto me, O God, 3-part anthem ;
It is a good thing, 4-part anthem, with
symijhony, or prelude, two violins and bass ;
O praise God in his holiness, with violins
and bass ; Awake, put on thy strength,
ritoruels, solo, and chorus ; Bless the Lord,
166
PURCELL
O my soul, six voices, two choruses, and
symphony ; Why do the heatlien?, three
voices and symphony ; Unto thee will I cry,
three voices and two violins ; I will give
thanks, five voices ; Praise the Lord, sym-
phony for two violins and bass, solo, and
duets ; O sing unto the Lord, four and five
voices, chorus, and symi^hony, two vioUns
and bass ; Behold, I bring you glad tidings ;
Thy word is a lantern ; O give thanks ; They
that go down to the sea in ships, composed
at the request of the Kev. Mr. Gostliug,
when the Iving was at sea (1G7'J) ; Peace be
within thy walls ; Lord, how long ; I was
glad when, ritornel ; The way of God ; O be
joyful ; Blessed is he ; Blessed is the man,
and. Thou knowest. Lord, for Queen Mary's
funeral (1C95) ; Two elegies upon the Queen's
death (1695) ; My beloved spake ; My song
shall be alway ; Rejoice in the Lord alway,
for three voices with symphonies ; Praise
the Lord, O my soul ; Save me, O God ; We
give thanks ; I was glad, and, My heart is
indicting, for the ceremony of James II.'s
coronation at Westminster Abbey, 1G85 ;
Thanksgiving anthem for the recovery of
James II.'s Queen ; Blessed are they that
fear the Lord, 1G88 ; The Lord is King,
1G88 ; Church service in B-flat ; 5-pai-t
Gloria Patri ; Two Psalms ; Crucia in hac
flamma, hymn for two voices ; Hymns and
psalms for three and foui' voices ; and a
Te Deum and Jubilate in D, with orchestral
accompaniments, for the festival of St. Ce-
ciUa, 1694.
IV. Cantatas and songs : How pleasant in
this flowery plain, pastoral song, two voices,
chorus, two flutes, and bass, imfiuished ;
Hark, how the wild musicians sing, pastoral
for three voices, chorus, two violins, and
bass ; Hark, Damon, what Musick's this ?
pastoral ; Above the tumult of a busy state,
pastoral duet ; Dialogue between Charon
and Orpheus, cantata for one and two
voices ; No, to what purpose should I speak,
cantata, with chorus ; Job's curse. Let the
night perish, song ; Amidst the Shades, etc.,
song; See where she sits, etc., duet, two
violins and bass ; In deep vision's intellect-
ual scene, recitatives, arias, and chorus ;
With sick and famished eyes, lamentation ;
Flj', bold rebellion, solo and finale for seven
voices ; Oh, oh, what a scene, etc., 2-part
song ; Though my mistress be fair, do. ;
Sylvia, thou brighter eye of night, do. ; Go
tell Aminta, gentle swan, duet ; From those
serene and rapt'rous joys, choruses and
airs ; Cease, anxious world, your fruitless
pain, song ; They say you're angry, cantata ;
W^hen Teucer from his father fled, 2-part
song ; Sighs for Charles H., If pray'rs and
tears ; In some kind dream, 2-part song ;
Awake, awake, and with attention hear, one
voice ; Here, here's to thee, Dick, 2-part
song ; If ever I more riches did desire, can-
tata ; Anacreon's defeat. This poet sings the
Trojan wars, song ; Celestial music did the
gods iusfiire, Aug. 5, 1789 ; In each truck,
2-i)art song ; Sing, all ye Muses, Fair Chloe
my heart so alarms ; When Myra sings ;
From rosy bowers, sung by Mrs. Cross, as
Altifidora, in Don Quixote ; Sweet tunes
are so bad, dialogue ; Now the maids and
the men, do. ; Many ballads, glees, rounds,
and catches.
V. Instrumental : 12 sonatas of three
parts, two violins and bass, with organ or
harpsichord, 1683 ; Lessons for the harpsi-
chord or spinnet, 1696 ; 10 sonatas in four
parts for the clavecin, the ninth of which is
called the Golden sonata, 1697 ; March and
quick-stejj, afterwards adajjted to the Irish
ballad, Lilliburlero ; Overtures, dance-tunes,
and music for the theatre. Two collections
of Purcell's works were published by his
widow, " Orpheus Britannicus " (2 vols.,
London, 1698-1702 ; 2d ed., 1706-13) ;
and "A collection of Ayres compiosed for the
theatre and other occasions by the late Mr.
Henry Pureell" (Loudon, 1697). Many of
Purcell's works are contained in Playford's
Theatre of Music (London, 1687) ; in the
Harmonia Sacra (ib., 1688) ; and others in
\ the collections of Boj-ce, Arnold, and Page.
A collection of "Purcell's Sacred Music"
was published by Vincent Novello (London,
167
PURITANI
1826-36). Henry Purcell's only surviving
son, Edward (1689-1740), was organist of
Af w St. Clement's,
^iT^PnAJCjMj> Eastcbeap, and of
7' j^UA-^^ -^-^ g^ Margaret's,
"Westminster, 1726. He left a sou Henry
(died about 1750), wbo succeeded bis fatber
as organist. — W. H. Cummings, Purcell
(London, 1881) ; Hawkins, iv. 495 ; Burney,
iii. 483 ; Fc'tis, vii. ; Grove, iii.
PUKITANI DI SCOZIA, I (Tbe Puritans
of Scotland), Italian opera in two acts, text
by Count Pepoli, music by Bellini, first rep-
resented at tbe Thi'atre Italien, Paris, Jan.
25, 1835. Tbe bbretto is tbe poorest iu all
Bellini's operas, but tbe score contains some
of bis best melodies. Scene in England,
during tbe reign of diaries II. Tbe Puri-
tan Elvira, daugbter of Lord Walton, wbo
bas been promised to Sir Riccardo Fortb,
gains bcr fatber 's consent to ber marriage
witb Sir Aiiuro Talbot, a Cavalier, wbo is
admitted to tbe fortress beld by Lord
Walton. On tbe day for tbeir nuptials Ai-
I and sentenced to deatb. At tbis crisis a
berald announces tbe defeat of tbe Stuarts,
and Cromwell pardons tbe political of-
fenders. Tbe joyful news restores Elvira
to bealtb, and sbe is married to Arturo.
Tbe principal numbers are tbe quartet
'^<t-K\yJi
i
Giovanni Batlista Rubini.
tiu'o aids Enricbetta, the widow of Cbarles
I., and a prisoner tbere, to escape, and El-
vira, believing tbat be is eloping, loses her
reason. On bis return Ai-turo makes an
explanation to Elvira, and they renew their
vows ; but Arturo is arrested for treason,
"A te, o cara ; " "Sou vergin vezzosa," a
polonaise sung by Elvira ; " Non casa,
non spiaggia," tbe final chorus of tbe first
act ; Elvira's mad song, " Qui la voce ; " ber
aria, "Vien, diletto;" " Suoni la tromba,"
duet between Riccardo and Giorgio, known
as tbe "Liberty Duet; "and Arturo 's ro-
manza, " A una fonte, afflitto e solo." Bel-
lini wrote tbe score for tbe four great ar-
tists wbo sang in tbe original cast :
Elvira (S.) Mme CJrisi.
Arturo (T.) Signor llubini.
Riccardo (B.) Signor Tamburini.
Giorgio (B.) Signor Lablache.
Tbis was Bellini's last work, for be died on
Sept. 23, 1835. At his funeral a Laciymo.sa
was sung by Rubini, Ivanoff, Tamburini,
and Lablache, tbe music of which was ar-
ranged from the tenor aria, " A una fonte,
afflitto e solo," from IPuritani. This opera
was first given iu Loudon, at tbe King's
Theatre, for the benefit of Mme Grisi, May
21, 1835, and sung by Grisi, Rubini, Tarn-
PURITAN'S
buriui, and Lablacbe, long known as the
" Puritani Quartet." Mme Bosio also was
successful as Elvira. This work was first
given in Berlin, Vienna, Milan, and Rome
in 183G, and first in New York, Feb. 3,
1844. Full score published by Schott
(Mainz, 1835) ; pianoforte score by Tado-
lini (ib.), and by Ch. Rummel (ib., 1839),
and Grande Fantaisie for the pianoforte
by Liszt, op. 7 (ib., 1839). Edition by
Natalia Macfarreu, Novello, Ewer & Co.
(London, 1872).— Clement et Larousse,
558 ; Grove, i. 213 ; Edwards, Hist. Opera,
ii. 253 ; Allgem. mus. Zeitg., xxxviii. 113 ;
Neue Zeitschr., iv. 130 ; Athenjcum (1835),
418 ; Upton, Standard Operas, 54.
PURITAN'S DAUGHTER, THE, Eng-
lish opera in three acts, text by J. V. Bridg-
man, music by Balfe, first represented at
Covent Garden, London, Nov. 30, 1861.
The action takes place in England in the
reign of Charles II. Original cast :
Mary Miss Louisa Pyne.
Clifford Mr. Santley.
Rochester Mr. Harrison.
Wolf Mr. Corn.
Seymour Mr. St. Alban.
King Charles Mr. Patey.
The chief numbers are : Mary's ballad,
" Pretty, lowly, modest flower ; " the duet
between Mary and Clifford, " Oh would that
I had died ere now ; " " Let the loud tim-
brel," a duet between two of the Puritans ;
Rochester's drinking-song, " Let others sing
the praise of wine ; " the quartet, " Ere
long Death, perhaps, shall lay me low ; "
Rochester's song, " Hail ! gentle sleep ; "
and Mary's ballad, " My father dear, though
years roll by."— Athenseiim (1861), ii. 772 ;
Upton, Standard Operas, 36.
PUZONE, GIUSEPPE, born at Naples,
December, 1821, still living, 1890. Dramatic
and church composer, pupil, at the Conserva-
torio di San Pietro a Majella, of Ferrazzano
and Rossi on the oboe, of Lanza on the pi-
anoforte, of Gennaro Parisi in harmony, of
Francesco Ruggi in counterpoint, and of
Donizetti and Mercadante in composition
and orchestration. In 1844 he became
maestro concertatore at the Teatro San
Carlo, where he is now maestro di cappella.
Works — Operas : II marchese Albergati,
Naples, 1839 ; II figlio dello schiavo, ib.,
1845 ; Elfrida di Salerno, ib., 1849 ; II
dottor Sabbato, o^jera bufPa, ib., 1852. Lo
tre ore d' agonia, oratorio ; 3 masses, with
orchestra ; 2 Credo, do. ; 2 Taiituni ergo,
do. ; Many motets, with and without or-
chestra ; Several overtures for orchestra,
etc. — Fetis, Supplement, ii. 375.
PYGMALION, melodrama, text by Jean
Jacques Rousseau, music by Georg Benda,
first represented in Gotha about 1771, in
Leipsic in 1780. The story is that of Pyg-
malion and Galatea. It was given in Ber-
lin, Nov. 14, 1808, with Horr ItHand as
Pygmalion. Other operas, melodramas,
and cantatas on this subject : In Italian,
Pimmaglione in Cipro, by Antonio Draghi,
text by Minato, for the birthday of the Em-
press, Vienna, 1689 ; Pimmaglione, by Gio-
vanni Alb. Ristori, about 1750 ; same title,
ballet by Florian Deller, about 1750 ; can-
tata by Ziiigarelli, Nai:)les, 1779 ; drama,
with music, by Bonifazio Asioli, Turin,
about 1789 ; operetta by Cimadoro, Ven-
ice, 1788, Milan, Nov. 20, 1795 ; by Cima-
rosa, Vienna, 1792 ; by Sirotti, Milan, 1793 ;
and opera, by Giovanni Battista Gordigiani,
Prague, 1845 : in French, Pygmalion, by La
Barre, in Le triomphe des arts, text by La-
motte, Paris, May 16, 1700 ; melodrama by
J. J. Rousseau, set by Horace Coignet, Paris,
Oct. 30, 1775, and by Antoine L. Baudron,
ib., 1780 ; L'Anti-Pygmalion, by Jean Bap-
tiste Rochefort, Paris, 1778 ; Le nouveau
Pygmalion, by Christian Rheineck, Lyons,
about 1780 ; duodrama by Benedetto
Bonesi, text by Du Rosoy, Paris, Dec. 16,
1780 ; scene with orchestra, by Christian
Kalkbrenner, Paris, 1799 ; ballet pantomime
by Lefebre, text by Milon, Paris, Aug. 20,
1800 ; opera-comique by Cherubini, Paris,
Nov. 30, 1809 ; by Halevy, 1823, not given ;
Galatee, by Victor Masse, Paris, April 14,
QUAGLIATI
1852 ; Monsieur Pygmalion et la statue,
operetta by Auguste Leveillu, Paris, about
1865 ; and Pygmalion, operetta by Mme de
Saiute-Croix, Paris, Feb. 9, 1875 : in Ger-
man, Der wunderbar vergniigto Pygmalion,
by Couradi, text by Postel, Hamburg, IGOi ;
Pygmalion, Singsj^iel by Franz Aspelmayer,
Vienna, about 1775 ; ballet by Karl Hanke,
in the castle of Graf Haditz, Eosswalde,
1777 ; Singspiel by T. A. Kuutz, Prague,
1781 ; cantata by Fnuiz Benda, 1785 ; mo-
nodrama (?) by Ant. Schweitzer, about
1785 ; Singsisiel by Justin Heinricli Knecbt,
about 1790 ; Pj'gmalion oder die Keforma-
tion der Liebe, Singspiel by Herklots, com-
poser unknown, Berlin, 1792 : Die Reue des
Pygmalion, ballet by Josef Weigl, Vienna,
Oct. 1, 1794 ; Pygmalion, comic oi:)era by
Karl Jakob Wagner, Darmstadt, 1809 ;
Singsjjiel by Franz Volckert, Vienna, 1827 ;
Singspiel by J. C. H. Kemde, Weimar-,
183G ; and Die scliOne Galathea, ojieretta by
Franz vou Sup2X', text by P. Henrion, Vi-
enna, Sept. 9, 18G5.
PYERHUS ET POLYX^NE. See AchiUe
et Polyxene.
QUAGLIATI, PAOLO, Roman hai-psi-
cbord player of the 17th century.
He was maestro di cappella of Santa
Maria Maggiore in 1G12 and published
Carro di fedelta d' amore (IGll), one of the
oldest musical dramas in existence, and Mo-
tetti e dialoghi a 2-8 voci (1G20).— Fctis ;
Mendel.
QUAISAIN, ADRIEN, born in Paris in
17G6, died there. May 15, 1828. Dramatic
singer and composer, pupil of Berton ; made
his debut in 1797, and was chef d'orchestre
of the Theatre de TAmbigu-Comique in
1799-1819. Works: Sylvain et Lucette,
ou la vendange, 1797 ; La musicomanie,
Les deux ivrognes, Lo mari d'emprunt,
1800 ; Une etourderie, ou I'une pour I'au-
tre. La dot, ou le mari d'un jour, 1801 ; Les
amants absents, 1803. — Fctis ; do.. Supple-
ment, ii. 377.
QUAL COR TRADISTL See Norma.
QUAL FARFALLETTA, soprano aria of
Partenope, in A major, with accompaniment
of two violins and bass, in Handel's Parte-
nope, Act n., Scene 7. Published also sepa-
rately, with the accompaniment fiUed out
by Otto Dresel (Leipsic, Breitkopf & Hilr-
tel).
QUAND JE QUITTAI LA NORMAN-
DIE. See Hubert le Diable.
QUANDO RAPITA IN ESTiVSL See
Lucia.
QUANT' ^ Plil BELLO L' A:M0R CON-
TADINO, nine variations for the pianoforte,
in A, by Beethoven, on a theme from Paisi-
eUo's opera. La Molinara, composed in 1796,
and dedicated to Sua Altezza il Signoro
Principe Carlo de Lichnowsky. Published
byTraeg (Vienna, 1796). Breitkopf & Har-
tel, Beethoven Werke, Serio xvii.. No. 6.
— Thayer, Verzeichniss, 15.
QUANTO AMORE. See Eli>;lre d' amore.
QUANTZ (Quanz), JOHANN JOACHDI,
born at Oberschedeu,
Hanover, Jan. 30, 1697,
died in Potsdam, July
12, 1773. Virtuoso on
the flute, and the famous
instructor of Frederick
the Great ou that instru-
ment. The sou of a
blacksmith, ho early
played double-bass at
village festivals ; and was taken by his un-
cle, Justus Quantz, to Merseburg to be
brought up as a musician. He learned sev-
eral instruments and studied the pianoforte
under Friedrich Kiesewetter. When his
apprenticeship was over, in 1713, he became
assistant musician at Radeberg, then at
Pirna, and in 1716 in Dresden. He stud-
ied counterjjoint under Zelenka and Fux in
Vienna in 1717, and in 1718 joined the Po-
lish royal orchestra of Warsaw and Dres-
den, playing first the oboe, and later the
flute under Buffardin. In 1724 he went to
Italy in the suite of the Polish ambassa-
dor, Count Lagnasco, received instruction in
170
QITAEENGHI
counterpoint from Gasi^erini in Eome, and
made the acquaintance of the Neapolitan
masters ; in 1726 he remained several
months in Paris, where he improved the
flute by adding a second key ; in 1727 vis-
ited London, wliere Italian opera was flour-
ishing under Handel ; and returned to
Dresden aud entered the royal orchestra
again in 1728. His playing in Berlin in-
spired the crown prince to learn the flute,
and twice a year he had to visit Berlin, un-
til his pupil succeeded to the throne and
became Frederick the Great, when in
1741 he was ajjpointed chamber musician
and court composer, with a yearly salary
of 2,000 Thalers, extra payment for every
composition, and 100 ducats for every flute
he should make. Until his death he re-
mained in high favour with Frederick the
Great, and was eminent as a virtuoso and
teacher. Works : 300 concertos and 200
other pieces for one and two flutes, trios,
and quartets, most of them presei-ved in
Potsdam. He irablished 6 flute sonatas
with bass, 6 flute duets, and Neue Kii-cheu-
melodien, or music to 22 of Gellert's odes ;
a few songs ; a serenade ; Versuch einer
Anweisung die FliUe traversiere zu spielen
(1752), a flute method that was translated
into French and Dutch ; Application pour
la flilte traversiere a deux clefs. — Mendel ;
Schilling ; Eiemann ; Fetis ; do., Supple-
ment, ii. 377 ; A. Quantz, Leben und Werke
des Fldtisten J. J. Quantz (Berlin, 1877) ;
Winterfeld, Kirchengesang, iii. 467 ; Eeiss-
mann, Illustr. Gesch. der Mus., 400.
QUARENGHI, GUGLIELMO, bom at
Casalmaggiore, Oct. 22, 1826, died in Mil-
an, Feb. 4, 1882. Violoncellist, pupil at
the Conservatorio, Milan, where he became
professor of double-bass in 1851. He was
appointed maestro di cappella of the catlie-
dral there in 1879. Works : II dl di San
Michele, opera, Milan, 1863 ; Several masses;
Quartets ; Caprices, fantasias, etc., for vio-
loncello.— Fetis, Supjjloment, ii. 377.
QUATRE FILS AYMON, LES, opera-
comique in three acts, text by de Leuven
and Brunswick, music by Balfe, first repre-
sented at the Opera Comique, Paris, July
15, 1844. Four wanderers return to their
fatlier's castle, and find themselves beggars
instead of heirs. Near the Chateau Aymon
dwells the Baron de Beaumanoir, who wishes
to marry his daughter Hermine to the wealth-
iest of his neighbours, and places his three
nieces in a convent to obtain their patri-
mony. An old seneschal, Ivon, invents the
story that the eldest Aymon, Olivier, is
wealthy and eccentric, assuming poverty.
But Hermine refuses to marry before her
cousins. This difficulty is overcome, for
the three cousins accept the brothers of
Olivier. The text and music are trivial and
the ojjera was not as successful as Le ini'ds
d'amour, which it followed. It was given
at the Princess's Theatre, Loudon, as The
Castle of Aymon, or the Four Brothers,
Nov. 20, 1844.— Athenreum (1844), 1074;
Clement et Larousse, 560.
QUE CES MUBS COQUETS. See Am-
ba.'isadrice.
QUEEN CAROLINE'S TE DEUM, by
Handel, written on
the death of Queen
Caroliue, one of his
best friends, and first
performed in King Henry VH.'s Chapel,
Westminster Abbey, at Her Majesty's inter-
ment, Dec. 17, 1737. This work was com-
posed three weeks after the Queen's death.
The text was probably selected by Handel.
The first chorus is based on the German
choral, " Herr Jesu Christ, du hOchstes
Gut," known in Saxony as the Funeral
Hymn, "Wenn mein Stiindlein vorhanden
ist," used also by Mozart as the cantus firmus
of the first movement in his Requiem. The
original autograph, in Buckingham Palace,
is dated London, December 12, 1737. It
contains a Vorspiel, ten choruses, and two
quartets. Burney considered this the finest
171
QUEEN
of all of Handel's works. Part of this Fu-
neral Authem was sung at the Handel Com-
memoration, June 3, 1784. First pub-
lished by Arnold (London) ; Chrysander's
edition for the Hiindelgesellschaft, piano-
forte score by Im. Faisst, published by
Breitkopf & Hilrtel (Leipsic, 18G1).— Chry-
sander, Handel, ii. 43G ; Hawkins, v. 416;
Burney, iv. 419 ; Eockstro, Handel, 206.
QUEEN OF SHEBA. See Kdnicjin von
Saba ; Heine de Saba.
QUESTA O QUELLA. See rdgolelto.
QUI LA VOCE. See Purilani.
QUINTO FABIO, Italian opera in three
acts, by Cherubini, first rejiresented in Ales-
sandria, Piedmont, in the autumn of 1780.
This was the composer's first opera, and it
was rewritten and given in Rome in Jan-
uary, 1783. The subject is Quiutus Fabius
Maximns, the Roman hero of the Punic
wars. Other Italian oijeras of this title, by
Dimitri Bartnansky, text by Metastasio,
Modena, Dec. 26, 1778 ; by Bertoni, Padua,
1778 ; by Marinelli, Rome and Naples, 1791 ;
and by Puccini, about 1800.— Fetis, ii. 783.
QUbl ! C'EST VOUS (^U'ELLE PRfi-
FERE ! See JjAfausse magie.
HABBONI, GIUSEPPE, born at Cre-
mona, Italy. July 16, 1800, died at
Yarenna, Lake Como, Jane 10, 1856.
Virtuoso on the flute, pupil at the Jlilan
Conservatorio (1808-17), of Buccinelli,
whom he succeeded in 1827 as professor.
H(! was also first flutist at the Teatro
della Scala, and made numerous concert
tours, mostly in company with the clarinet-
ist Ernesto Cavallini. His compositions
for the flute number about sixty-seven
works, and were highly esteemed by the
Italian virtuosi on that instrument. — Fctis,
Supplement, ii. 382.
RABE, CHRISTIAN GOTTLIEB, born
at Halle, Oct. 18, 1815, died, Feb. 27, 1876.
Instrumental and vocal composer, pupil of
Tiirk. In 1839 he was Kaijellmeistcr to
Count Hahn, who, with his opera troupe.
travelled through North Germany ; in 1844
he returned to Halle, and was employed at
the Institute for the Blind ; in 1846-47, Ka-
pellmeister at the Stadttheater in Cologne,
then at Basel and Ziirich. In 1848 he be-
came music director and organist at Lenz-
burg, which position he resigned in 1875
on account of ill-health. Some of his op-
eras were given at Bernburg ; he left many
instrumental and vocal compositions in
manuscript.
RABUTEAU, VICTOR ALFRED PEL-
LETIER-, born in Paris, June 7, 1843, stiU
living, 1890. Pianist and violinist, pupil, at
the Conservatoire, of Bazin in harmony and
of Ambroise Thomas in fugue and compo-
sition ; won in 1865 the first jjrize for har-
mony, and in 1868 the grand prix de Rome.
Works : Le passage de la mer rouge, ora-
torio, 1874 ; Suite symphonique. — Futis,
Supplement, ii. 384.
RACHEL! QUAND DU SEIGNEUR.
See La Juive.
RADAMSTO, Italian opera in three acts,
text by Nicholas Haj-m, after an episode in
the "Annals" of Tacitus (xii., cap. 51),
music bj' Handel, first represented at the
King's Theatre, London, April 27, 1720.
The original score, in Buckingham I'alace,
is unsigned and undated. This opera was
received with extraordinary enthusiasm.
Burney calls it " solid, ingenious, and full
of fire," and Handel considered the aria
" Ombra cara," sung by Radamisto, one of
his best solos. The bass aria for Tiridate,
"Alzo al volo," is acccompanied by two
horns, then new instruments in a London
orchestra. Characters represented : Rada-
misto, son of Fai-asmene (S.) ; Zenobia,
his wife (A.) ; Farasmene, King of Thrace
(B.) ; Tiridate, King of Armenia (B.) ; Polis-
sena, his wife, daughter of Farasmene (S.) ;
Tigrane, Prince of Pontus (S.) ; and Fraate,
brother of Tiridate (S.). In the following
November, 1720, when the score was re-
vised, the pai't of Radamisto was changed
to conti'alto for Senesino ; Tiridate was
made a bass ; and the character of Fraate
172
EADECKE
was omitted. The elaborate aria, " Sposa
ingrata," smig by Polissena, originally writ-
ten for one of Handel's early cantatas,
" Castri amori," was altered for Faustina in
1728, when the work was revived. It was
first given in Hamburg, as Zenobia, in 1721.
The score was first published by Richard
Mearcs, at Handel's order (London, 1720).
The only other edition is that revised by
Chrysander, and published for the Hiindel-
gesellschaft, by Breitkopf & Hilrtel (Leip-
sic, 1875). Other Itahan operas on this
subject : Zenobia e Radamisto, by Giovanni
Legrenzi, text by Matteo Noris, Ferrara,
16G5 ; same text, music by Chelleri, Venice,
1722 ; by NicoloPiccinni, Naples, 1776 ; and
Eadamisto e Zenobia, by Pietro Raimondi,
Naples, 1817. See Zenobia. — Rockstro,
Handel, 130 ; Marshall, Handel, 08 ; Bur-
ney, iv. 259 ; Hawkins, v. 295.
EADECKE, ROBERT, born at Ditt-
mannsdorf, Silesia, Oct. 31, 1830, still liv-
ing, 1890. Pianist, organist, and violinist,
pupil at Breslau of Ernst KOhlcr on the pi-
anoforte and organ, of Liistner on the vio-
lin, and of Brosig in composition ; then, at
the Lcipsic Conservatorium, of Moscheles
and Hauptmann. In 1850 he became first
violinist in the Gewandhaus orchestra, in
1852 second director of the Singakademie
with Ferdinand David, and in 1853 musi-
cal director of the Stadttheater of Leipsic.
After serving a year in the army he settled
in Berlin, gave chamber concerts, played
second violin in Laub's quartet, and in
1858-G3 established choral and orchestral
concerts with great success. He was ap-
pointed musical director of the royal opera
in 18G3 with Taubert and Dorn, and in
1871 was made royal Kapellmeister for life.
Works : Kimig Johann, overture for orches-
tra ; Am Strande, do. ; Die Monkguter,
Liederspiel ; Symphony, and other music
for orchestra ; About 100 songs ; Vocal
duets, trios, and quartets. — Mendel ; Rie-
mann ; Fetis.
RADECKE, RUDOLF, born at Ditt-
mannsdorf, Silesia, Sept. 6, 1829, still liv-
ing, 1890. Brother of the preceding, pupil
of Mosewius and Baumgart at the Academi-
cal Institute for Church Music, in Breslau
(1851-53), then of Rietz, Hauptmann, and
Moscheles at the Conservatorium, Leipsic ;
settled in Berlin in 1859, was professor at
Stern's Conservatorium in 1804-71, con-
ductor of the Cilcilien-Verein in 1804-08,
then founded a singing society, named af-
ter him, and in 1809 a musical institute, of
which he is director. Works : Symj^hony ;
Overtures ; Trios ; Duos ; Choruses and
songs. — Mendel ; Riemann.
RADICATI, FELICE ALESSANDRO,
born at Turin in 1778, died, April 14, 1823.
Violinist, pupil of Pugnani ; made a tour
through Lombardy in 1816 and was in Vi-
enna two years later. He married the
singer Teresa Bertiuotti. His death was
the result of injuries received in being
thrown from a carriage. Works : Ricciar-
do Cuor di Leone, opera, Bologna ; Quin-
tets, quartets, and trios for strings ; Duos
for violins ; Themes varii's for violin, and
orchestra, or quartet ; Italian ariettas, with
pianoforte. — Fc'tis.
RADOUX, JEAN TH1^:0D0RE, born at
Liege, Nov. 9, 1835, still living, 1890. Dra-
matic composer, sou of and first instructed
by an artisan, then pupil, at the Conserva-
toire, of Bacha on the bassoon. On his
master's death, in 1856, he obtained his
l^lace by competition, also won the first
prize for pianoforte ; studied counterpoint
and fugue under Daussoigne-Mt'hul, whose
favourite pupil he became. In 1857 a Te
Deum by him was performed at the Liege
Cathedral, and in 1859 he took the Brussels
grand prix de Rome for his cantata Le juif
errant. He then studied in Paris under
Halevy, and from that time became a pro-
lific composer. In 1872 he became director
of the Lioge Conservatoire. Officer of the
Order of Leopold, 1877. Works : Le Bi'ar-
nais, opera-comique, Liege, 1800, Brussels
(remodelled) ; La coupe enchantee, do.,
Brussels, 1872 ; Cain, oratorio, Lii'ge, 1877 ;
La fille de Jephte, cantata for soli, chorus,
173
KADZIWILL
and orchestra ; Le printemps, chorus for
female voices, with orchestra ; Le festin de
Balthazar, tableau symphonique, Liege,
1861 ; Te Deum (ordered by the govern-
ment), Sainte-Gudule, Brussels, 1863 ; Epo-
pee nationale, ouverture symphonique, ib.,
1863 ; Several other national hymns and
symphonies, executed at Liege and Brus-
sels on state occasions ; Sacred pieces for
one or several voices, with and without
chorus, and organ accompaniment ; chor-
uses for male voices ; ]\Ielodies for voice
and pianoforte ; Romances sans paroles for
pianoforte, etc. — Fetis, Supplement, ii.
385 ; Mendel, Erganz., 372 ; Gregoir, ii.
87 ; Viotta.
E.^DZnVILL, Prince AXTON HEIN-
RICH, born at Wilna, June 13, 1775, died
in Berlin, April 8, 1833. Amateur violon-
cellist and vocal comijoser. Married to
the Princess Luise, sister of the distin-
guished amateur Prince Louis Ferdinand
of Prussia, he was known in Berlin not only
as an ardent admirer of good music but as
a singer of much taste and ability and a
liberal patron, and it was to him that Beet-
hoven dedicated the Namensfeier Ouvertiire
in C, op. 115. Ho was best known by his
music to Goethe's " Faust," which was
repeatedly performed during several years
in Berlin, Dantzic, Hanover, Lcipsic,
Prague, and other places. He was one of
the patrons of Frederic Chopin, whom he
placed in one of the best colleges of War-
saw. Works : Romances for voice and
pianoforte ; Songs with guitar and violon-
cello ; Duets with pianoforte ; Many part-
songs composed for Zelter's " Liedertafel "
(MS.).— Fetis ; Sowifiski ; Mendel.
RAFAEL, FRANTISEK KAEEL (Franz
Carl), born at Senftenberg, Bohemia, in
1795, died at Pettau, Styria, Nov. 14, 1864.
Bass singer and double-bass player, pupil
at the Conservatorium in Prague on the
double-bass, which he afterwards jslayed in
the theatre orchestra at BrQnn, but aban-
doned to become a dramatic singer. When
his voice began to fail he taught music, and
organized an orchestra, which was among
the most poj^ular in the city. He then
acted as Kapellmeister at several theatres,
in 1837 at Breslau, then at Troppau, and in
1843 at Marburg and at Pettau, where he
settled, teaching music after 1845. Works :
Solemn mass ; 2 Requiems ; Salutaris hostia ;
Tantum ergo, and other church music ;
Songs. — Wurzbach.
RAFAEL, FRANZ, born in Briinn in
181G, died in Gratz, April 19, 1867. Dra-
matic composei", son and pupil of the fol-
lowing, was for a number of years Kapell-
meister of the theatre at Gratz. Works :
Wittekind, opera, Gratz, 18G1 ; Hcinrich
der Fiukler, do., Olmiitz, 1860; Die Sfiiun-
stube, operetta, Gratz, 1864 ; Burschen-
schwiinke, do. — Wurzbach.
RAFF, (JOSEPH) JOACHDI, born at
Lachen, on the Lake
of Zili-ich, May 27,
1822, died in BerUn,
Juno 26, 1882. Ho
began his education
at Wiesenstetten, in
Wiirtemberg, then
entered the Jesuit
Lyceum at Sehwyz,
where ho won first
prizes in German, Latin, and mathematics.
Poverty comjielling him to stoj) his musical
studies, he turned school-master, but con-
tinued the study of music without a teacher,
making much progi'ess on the pianoforte
and violin, and in composition. In 1843
he sent some MS. compositions to Mendels-
sohn, who gave him an introduction to
Breitkopf & Hiirtel, which led to the pub-
lication of several of his works. From that
time to his death Raff continued to com-
pose and publish almost unceasingly. His
poverty continued for some time unabated ;
but he succeeded in interesting Liszt, who
invited him to join him on a concert tour.
Meeting Mendelssohn at Cologne, in 1846,
he was invited to go to Leipsic to study
under him, and accordingl}' severed his
connection with Liszt for that purpose ;
174
RAFF
but Mendelssolin's death frustrated tbis
plan, and Kaff was fain to stay in Cologne,
■where he supported himself for a time,
partly by musical criticism. Liszt again
tried to help him, and through his instru-
mentality Eaff was just about to enter into
remunerative relations with Mechetti, the
Vienna jjublishei*, when the latter also died.
Eaff returned to his studies, pursuing them
partly at home, and partly at Stuttgart,
where he had the good luck to fall in with
von Billow, who helped his rei^utatiou not a
little by playing his Couzertstiick in public.
In 1850 he went to Weimar to be con-
stantly near Liszt. Here he remodelled an
opera, "KOnig Alfred," which had been
given at Stuttgart, and brought it out with
flattering success. Ho also became en-
gaged to Doris Genast, the actress (daugh-
ter of manager Genast), whom he followed
to Wiesbaden iu 185G, and finally married
in 1859. In Wiesbaden he was for a long
while in great request as pianoforte teacher.
In 1863, his first symphony, An das Vater-
land, got the prize offered by the Gesell-
schaft der Musikfreunde of Vienna. In
1870 his opera. Dame Kobold, was pro-
duced at Weimar. In 1877 he was ap-
pointed director of Hoch's Conservato-
rium at Frankfort. If not a great genius,
Raff certainly was a man of prodigious
talent. He was a hard student, and suc-
ceeded in attaining a mastery over the most
intricate technical details of composition
such as very few of his contemporaries
could boast of. Although his larger works
abound in passages in which quite excep-
tional difficulties have been conquered, he
always seems to write with consummate
ease. His fertility of melodic invention
was immense, and he rarely, if ever, re-
peated himself. In elaboration and perfec-
tion of workmanship, he compares favorably
with the best writers of his day. His be-
setting fault is a certain lack of nobility of
inspiration, and real depth of feeling. The
extraordinary facility with which he wrote,
and the almost constant necessity he was
under of writing rapidly, to satisfy eager
publishers, made him careless of self-criti-
cism. In fact, his poverty was the great
bane of his talent, as it was of his life. Of
over two hundred opus-numbers that he
gave to the world, by far the greater pro-
portion were mere pot-boUers, salon pieces
of questionable value, and few even of his
greater works are wholly free from a cer-
tain tawdriness of stylo. Yet, for the later
half of his hfe, he was assuredly one of the
most prominent musical figures in Ger-
many, and one of the leaders of musical
opinion. His best known works are also
his best ones. Among them are the second
symjihony, in C, oj). 140, third symphony
Im Waldo, fifth symphony Lcuore, the con-
certos for pianoforte, op. 185, for violin, op.
206, and for violoncello, op. 193, the suites
for orchestra, op. 101 and op. 194, and a
great deal of chamber music. Works :
I. For Voices and Orchestra : " Wachet
auf " (text by Geibel) for men's voices and
orchestra, op. 80 ; Deulschland's Aufersteh-
ung, festival cantata for the 50th anniver-
sary of the Battle of Leipsic, for do., op.
100 ; Do profundis (Psalm CXXX.) for 8
voices and orchestra, op. 141 ; Im Kahn
and Der Tanz, 2 songs for mixed chorus
and orch., op. 171 ; Blorgenlkd, for do., op.
186 A. ; Eiuer Entschlafenen, for soprano
solo, chorus, and orch., op. 186 n. ; Die
Jiigerbraut and Die Hirtin, 2 scenes for a
solo voice and orch., op. 199 ; Die Tages-
zeiten, 4 movements for pianoforte, chorus,
and orch., op. 209 ; Weltende, Gericht, neue
Welt, oratorio to words from the Apoca-
lypse ; 4 Antiphons of the Virgin, 5-8 voc,
Kyrie and Gloria, 6 voc. a cappella. Pater
uoster and Ave Maria, 8 voc, without ojsus
number, and in MS. ; 2 choruses. Die
Sterne and DornrOschen, do., do.
II. Dramatic : Konig Alfred, opera, Wei-
mar, 1850 ; Dame Kobold, comic opera, op.
154, ib., 1870 ; Die Eifersiichtigen, do.,
not performed ; Die Parole, do., not per-
formed ; Benedetto Marcello, lyric opera,
not performed ; Samson, grand opera, not
RAFF
performed ; Music to Genast's Bernhard
von Weimar, ^Yeimar, 1858.
ni. Songs : About 85 songs for a voice
with pianoforte : op. 47-53, G6, 98 (Sauges-
frubliug, 30 songs), 172 (Maria Stuart,
Cyclus of 11 songs), 173, 191, 211 (Bloudin
de Nesle, cyclus), and two without ojjus
number ; 12 duets with do., op. 114 ; G
songs for 3 female voices with do., op. 184 ;
30 four-i)art songs for male voices, oj). 97,
122, 195 ; 10 do. for mixed voices, op.
198.
IV. For Orchestra: 11 symj^honies : No. 1,
All das Vaterland, op. 9G ; No. 2, in C, op.
140 ; No. 3, Im Widde, in F, op. 153 ; No.
4, in G minor, op. 1G7 ; No. 5, Lenore, in
E, op. 177 ; No. C, Gelebt, gestrebt— gelit-
teu, gestritteu — gestorben, umworben, in D
miu:or, op. 189 ; No. 7, In den Alpen, in B-
flat, op. 201 ; No. 8, FrUhlingskldiuje, in A,
op. 205 ; No. 9, Im Sommer, in E minor,
op. 208 ; No. 10, Zur Herbstzeit, in F mi-
nor, op. 213 ; No. 11, Der Winter, in A mi-
nor (posthumous, edited by Erdmanns-
dOrfer), op. 214 ; Sinfonietta for 10 wind
instruments, op. 188. Four suites : No. 1, in
C, op. 101 ; No. 2, In unQari»vher\i eise, iuF,
op. 194 ; No. 3, Italiiinische S., in E minor,
without opus number ; No. 4, Thiiriuger S.,
in B-flat (MS.), op. 204. Nine overtm-es :
Jubelouverli'ire, op. 103 ; Festouferturc, m A,
op. 117 ; Conzertouverture in F, op. 123 ;
Festouvertiire for wind instruments for the
50th anniversarj' of the Deutsche Burschen-
schaft at Jena, op. 124 ; Overture on Ein'
feste Burg, op. 127 ; do. to Shakespeare's
Borneo and Juliet (MS.), no opus number ;
do. to Othello (MS.), id. ; do. to Macbeth
(MS.), id. ; do. to The Tempest (MS.), id.
Festmarsch, op. 139;
Abends, rhapsody, op. 163
B. ; Elegy (MS.), no opus
number ; Fugue (MS., un-
finished), id. ^
V. For Pianoforte with
Orchestra : Ode au printemps, op. 76 ; Con-
certo in C minor, op. 185 ; Suite in E-flat,
op. 200.
VI. For Violin with Orchestra : La fOte
d' Amour, op. 67 ; Concerto No. 1, in B mi-
nor, op. 161 ; Suite, op. 180 ; Concerto No.
2, in A minor, op. 206.
Vn. For Violoncello with Orchestra :
Concerto No. 1, in D minor, op. 193 ; do.
No. 2, in G (MS.), no opus number.
VILL Chamber Music : Octet for strings,
in C, op. 176 ; Sextet for do., op. 178 ;
Quintet for jjianoforte and strings, in A mi-
nor, op. 107 ; 10 String quartets : No. 1, in
D minor, op. 77 ; No. 2, in A, op. 90 ; No.
3, in E minor, op. 136 ; No. 4, in A minor,
op. 137 ; No. 5, in G, op. 138 ; Nos. G, Suite
iilterer Form, 7, Die schOno Miilleriu, 8,
Suite in Canon-Form, op. 192 ; Nos. 9, in G,
10, in C minor, op. 202. Four trios for pi-
anoforte and strings : No. 1, op. 102 ; No.
2, in G, op. 112 ; No. 3, op. 155 ; No. 4, in
D, oj). 158. Five sonatas for pianoforte
and violin : No. 1, in E minor, op. 73 ; No.
2, in A, op. 78 ; No. 3, in D, op. 128 ; No.
4, in G minor, op. 129 ; No. 5, in C minor,
op. 145 ; Suite for do., op. 210 ; Other
pieces for do., op. 58, 63, 203 ; one duo in
MS. Duo in A for jsianoforte and violon-
cello, op. 59 ; 2 Fantasiestiickc for do., op.
86 ; 2 Romances for horn or violoncello, op.
182 ; Sonata for pianoforte and violoncello,
op. 183.
IX. For Pianoforte : 2 Sonatas ; No. 1,
with fugue, in E-flat minor, op. 14 ; Fan-
tasie-Sonate in D minor, op. 168 ; 3 sona-
tillas, op. 99 ; 7 suites : op. 69 ; in C, oj).
71 ; in E minor, op. 72 ; in D, op. 91 ; in G
minor, op. 162 ; in G, op. 163 ; in B-flat, op.
204 (from the orchestral suite) ; about 125
opus numbers of other pianoforte music in
various forms. Two Humoreskeu for pi-
anoforte 4 hands, in D, op. 159, Todtentanz,
op. 181 ; Other 4-hand music, op. 82, 160,
174 ; Chaconne in A minor for 2 piano-
176
-'s*'^ '""*
W --
THE SEW YORK
PUBLIC UBRARY
ASTBH, tCN«X
,. TH.DtN FOUNPATiaMa
. — M
RAFFAEL
fortes, op. 150 ; Phantasie in G minor for
do., op. 207 A.; The same arranged for pi-
anoforte and strings, op. 207 b. Kaff also
made a masterly orchestral arrangement of
Bach's D minor chaconne, and wrote the
pamphlet Die Wagnerfrage (1854). — Grove ;
Mendel ; Riemann.
EAFFAEL (Raphael), HYNEK VACLAV
(Iguaz Wenzel), born at Munchengriltz, Co-
liemia, Oct. IG, 17C2, died in Vienna, Feb.
23, 1799. Dramatic and church composer,
studied music in Prague, and first attracted
attention in 1781 as a tenor singer and or-
ganist. Kajoellmeister of a theatre in Pesth
several years, he settled afterwards in Vi-
enna, where he obtained a government
jjosition. "Works : Das Veilchenfest, ballet,
Vienna, 1795 ; Pygmalion, do. ; Virginia,
melodrama ; Pater noster, with orchestra ;
Te Deum, do.; Canons with organ ; Songs
and pianoforte music. — Dlabacz ; FOtis ;
Wurzbach.
EAGUE, LOUIS CHARLES, French
amateur harp player, lived in Paris in
1775-92, then in the neighborhood of Mou-
lins. Works : Memnon, opera, Comedic
Italienne, 1781 ; L'amour filial, do., ib.,
178G ; Concerto for harp and orchestra ; 3
symphonies for orchestra ; Quartets, and
trios for harp and strings ; Duos, sonatas,
etc., for hai-p. — Fetis ; Mendel.
RAIK, DIEUDONNE, born at Lit'ge,
1702, died at Antwerp, Nov. 30, 1764. Or-
ganist, entered the choral school at Antwerp
as a boy, became a priest in 1726, went as
organist to Louvain in 1727, to Ghent in
1742, and finally was recalled to Antwerp,
where ho became vicar and choir director.
He published six suites, and three sonatas
for pianoforte ; other compositions remain
in manuscript at Ghent, Louvain, and Ant-
werp.— Mendel.
RAIMONDI, IGNAZIO, born in Naples
in 1733, died in 1802. Violinist, pupil of
Barbella, settled at Amsterdam about 1762,
and established there regular concerts, which
be conducted until about 1780 ; he then
seems to have gone to Paris, and afterwards
to London. Works: Les aventures de
Tc'lemaque, symphony, Amsterdam, 1777 ;
La muette, opera-bouffe, Paris, 1791 ; 3 con-
certos for violin ; 6 quartets for strings ; 3
trios for do. — Fetis ; Mendel.
RAUIONDI, PIETRO, born in Rome,
Dec. 20, 1786, died there, Oct. 30, 1853.
Dramatic and church composer, and dis-
tinguished conti'apuntist ; pupil at the Con-
servatorio della Pieta de' Turchini, Naples,
of La Barbara and Tritto for six years, but
was then forced to leave because the relative
who had sup^jorted him refused to do so
any longer. After many wanderings he
was called to Florence in 1810, to Naples in
1811, and in the following twenty-five years
wrote operas and ballets for Naples, Sicily,
Rome, and MUan. He was director in 1824
-32 of the music in the Royal Theatres at
Naples, and in 1832 became professor of
composition at the Palermo Conservatorio,
where, during eighteen years he educated
some remarkable pupils, among others
Chiaramonti. He was called to Rome in
1850 to succeed Bassilj as maestro di cap-
pella at St. Peter's. His operas would prob-
ably have been more successful but for
Rossini, who was then dwarfing all others.
His church compositions and oratorios
placed him in the front rank. Among his
more remarkable works are three oratorios,
Potifera, Faraone, and lacob, designed to
be performed either separately or in combi-
nation as one work, under the name of lo-
sef. When given at the Teatro Argen-
tino, Aug. 7, 1852, the success of the single
oratorios was moderate, but when united,
the three orchestras and three troupes
forming an ensemble of 400 musicians, the
enthusiasm knew no bounds. Works — Ope-
ras : Le bizzarrie d' amore, Genoa, 1807 ; II
battuto contento, ib., 1808 ; Ero e Leandro,
ib., 1809 ; Eloisa Werner, Florence, 1810 ;
L' oracolo di Delfi, Naples, 1811 ; H fanatico
deluso, ib., 1811 ; Lo sposo agitato, ib.,
1812 ; Amurat Secondo, Rome, 1813 ; La
lavandaia, Naples, 1814 ; R ventaglio, ib.,
1831, and all over Italy ; and 45 other
RALNrElTHTER
operas ; 20 ballets, Naples, 1812-1828 ; 7
oratorios ; 4 masses with full orchestra ; 2
do., with full chorus acappella ; Mass for 8
and 16 voices ; Credo for 16 voices ; The
whole Book of Psalms alia Palestrina for i,
5, 6, 7, and 16 voices ; Many Te Deum ;
Stabats ; ]\Iisereres, Tantum ergo, etc. ; 2
books of 90 j)artimenti, each on a sej)arate
bass, with 3 different accompauimeuts ; Col-
lection of figured basses with fugued ac-
companiments as a school of accompani-
ment ; Several collections of fugues for 4-8
voices, etc. — Cicconetti, Memorie intorno
Pietro Eaimondi (Rome, 1867) ; Fetis ;
Grove ; Mendel ; Eiemann.
EAINPRUHTER, JO H ANN NEPO-
MUK FRANZ SERAFIN, bom in Bavaria,
May 17, 1752, died at Salzburg, April, 1812. :
Violinist and church composer, first in- j
structed by his father, a musician at Alien- j
Otting, Bavaria ; then jsupil of Leopold
Mozart at Salzburg, where he became choir
director in the monastery of St. Peter about
1773. "Works : 3 solemn masses ; Other
masses, vespers, oifertories, litanies, etc. ;
Symphonies ; Concertos for various instru-
ments ; Quartets, trios, duos, serenades,
etc. — Wurzbach.
rIkOCZY INDULO, the most cele-
brated of Hungarian tunes. It shares its
name with a number of older Hungarian
marches, dating from the beginning of the
18th century, when the Transylvanian
prince, Rakoczy Ferencz, made an unsuc-
cessful attempt to resist the power of Aus-
tria. It is thought that he composed this
march, the performance of which on public
occasions has been prohibited by the Aus-
trian government. The tune, which is stir-
ring, is much loved by the Austrians. Ber-
lioz introduced it into the Damnation de
Faust, writing it the night before he left
Vienna for Prague, during his first visit to
Austria. Berhoz's arrangement has been
adapted for the pianoforte for two bands,
by Ed. Wolff, published by Bote & Bock
(Berlin) ; and for four hands, by Julius
Benedict (ib.). Arrangements, by Liszt :
Marche de Rakoczy for the pianoforte, edi-
tion populaire (Kistner, Leipsic) ; Rakuczy-
Marsch, symphonic arrangement for full or-
chestra, also for the pianoforte for four and
for eight hands (Schuberth, Leipsic) ; and
Rakoczy-Marsch for the pianoforte, Rliap-
aodie, hongroise. No. XV. There are various
arrangements by other composers. — Engel,
the Study of National Music, 192 ; Apthorp,
Beriioz, 52.
RAMANN, BRUNO, born at Erfurt in
1830, still living, 1890. Instrumental and
vocal comjioser, pupil of Brendel, Riedel,
and Hauptmauu ; lives and teaches at Dres-
den. Works : Lob der Frauen, for male
voices and pianoforte ; Ein Tanz-Poem, for
pianoforte four hands ; Three songs for
mixed chorus ; Album fiU'stlicher Minne-
siinger und Lieder ; Pianoforte pieces, etc.
RAMEAU, JEAN PHILIPPE, born at
Dijon, France, Sept.
25, 1683, died in
Paris, Sept. 12, 1764.
Dramatic composer,
son of an organist at
the Dijon cathedral.
He was intended for
the magistracy, but
he so neglected his
studies at the Jesuit
College for music that his parents were
asked to take him away. He was already
an accomplished clavecinist, for at the age
of seven he could play quite difficult mu-
sic at sight. He soon mastered also the or-
gan and violin, and in 1701 made a short
visit to Italy, but soon joined a theatrical
company, with whom he travelled through
South France as first violinist. In 1706 he
was living at Paris as organist to the Jesuit
convent in the rue Saint- Jacques, and of
the chapel of the Pores de la Merci. It is
not known how long he stayed in Paris,
nor where he lived up to the time of his
second visit in 1717. In this year he failed
to get the post of organist at the church of
Saint-Paul, and went to Lille, where he was
organist at Saint-lfitienne for a while, going
178
KAMEAU
theuce to Clermont in Auvergne, where be
succeeded his brother, Claude, as organist at
the cathedral. In the quiet of this secluded
mountain town, Eameau gave himself up to
the study of the writings of Descartes, Mer-
senne, Kirehei-, and Zarlino, and gradually
drew up his famous " Treatise on Harmony
reduced to its natural principles," a truly
epoch-making work. Kameau's system of
harmony was based upon the equal division
of the monochord, and was the first attempt
ever made to reduce the theory of harmony
to scientific principles. For many genera-
tions it was the basis of all theoretic writ-
ings on the subject in France, Germany,
and Ital}', and although it has now been
suj)erseded by other sounder systems, Ka-
meau's theory of the inversion of chords
has held good to the jsresent day. This
was, indeed, his one really important dis-
covery. As soon as he had completed his
work, which he did in four years, he was
anxious to go again to Paris, but the long
engagement which he had signed with the
Clermont chajjter had still several years to
run, and his only means of obtaining a re-
lease was persistently to scorch the ears of
the congregation by such outrageous freaks
of improvisation on the organ, that the
chapter had to let him go iu self-defence.
When he arrived in Pai-is he had his " Traito
d'harmonie " published by Ballard (1722).
The work did not attract much notice at
first, and Rameau had to give music lessons
for a living. In this way he soon became
fashionable, notably with ladies of rank ; he
also got the post of organist at the church of
the Sainte-Croix de la Bretonnerie. On Feb.
25, 1726, he married Marie-Louise Mangot,
a good singer, then only eighteen years old.
By this time his " Traite d'harmonie " had
excited considerable notice, as had also the
music he wrote to several little pieces of
Alexis Piron for the Theatre de la Foire,
and some cantatas and clavecin works he
had published. But iu spito of his growing
rejjutation both as theorist, organist, and
composer, it was not until 1733 that he
succeeded in having a five-act grand opera,
Hippolyte et Aricie, brought out at the
Academic de Musique, which made more
stir than anything that had appeared since
Lully's day, and became the subject of con-
siderable controversy. It was followed by
a long list of other operas and ballets,
written either for the Academic de Musique,
or for the court. He was certainly the
greatest French composer since LuUy, and
did much toward expanding the form of
French opera which Lully had established.
He introduced new forms, a more careful
and varied treatment of the orchestra, richer
harmony, and more frequent modulation.
He was an unequal writer, but would prob-
ably have been less so had he not persist-
ently refused to recognize the fact that he
wrote best when thoroughly inspu-ed by
his subject. Unlike LuUy, who threw the
whole weight of his genius upon truth of
dramatic expression, and was always care-
ful to secure the best possible libretti, Ea-
meau had a theory that it mattered little to
a composer what he set to music, and was
correspondingly careless in his choice of
opera-texts. Still, when at his best, he
wrote music the beauties of which can
hardly be dimmed by time, and he has
always been esteemed the greatest figure
in the history of French opera between
Lully and Gluck. Works — I. Operas : Sam-
sou (not f)erformed, written 1732) ; Ilijjpo-
lyte et Aricie, tragedie-02:)era, Paris, Aca-
demie Eoyale de Musique, Oct. 1, 1733 ;
Les Indes galantes, opera-ballet, ib., Aug.
23, 1735 ; Castor Qi Pollux, tragedie-lyrique,
ib., Oct. 24, 1737 ; Les fOtes d'Hube, ou les
talents lyriques, opera-ballet, ib., May 21,
1739 ; Dardanus, tragedie-opera, ib., Nov.
19, 1739 ; La princesse de Navarre, comedie-
hcroique, Versailles, Feb. 23, 1745 ; Les
fetes de Polhymnie, opera-ballet, Paris,
Academic Eoyale de Musique, Oct. 12, 1745 ;
Le temple de la glorie, do., Versailles, Nov.
27, and Paris, Academic Eoyale de Musique,
Dec. 7, 1745 ; Les fetes d'Hymeu et de
I'Amour, ou les dieux d'Egypte, ballet-
170
RAMEAU
heroique, Versailles, March 15, 1747, and
Paris, Academie Koyale de Musique, Nov. 5,
1748 ; Zais, opura-ballet, ib., Feb. 29, 1748 ;
Pygmalion (act from Laroche's opera Le
triomphe des arts, reset by Rameau), ib.,
Aug. 27, 1748 ; Platoe, ou Junon jalonse,
comudie-ballet, ib., Feb. 4, 1749 ; Nais,
opera-ballet, ib., April 22, 1749 ; ZoroaMre
(the music of Samson remodelled on a new
libretto), tragedie-lyrique, ib., Nov. 5, 1749 ;
Acanthe et Cophise, ou la sympathie, pas-
toral-heroique, ib., Nov. 19, 1751 ; La guir-
lande, ou les fleurs euchantccs, opera-ballet,
ib., Sept. 21, 1751 ; La naissauce d'Osiris,
ou la fete de famille, do., Versailles, 1751,
and Paris, Academie Eoyale de Musique,
1754 ; Daphnis et Egle, do., Versailles,
1753 ; Lj'cis et Dclie, do., ib., 1753 ; Zephire,
opera, Pai'is, Academie Royale de Musique,
1754 ; Nelee et Myrtis (not performed,
written about 1755) ; lo, opera-ballet (id.,
about 175G) ; Le retour d'Astree, prologue,
Paris, Academie Eoyale de Musique, 1757 ;
Anacreon, ballet-hc'roique, ib., May 31,
1757 ; Les surprises de I'amoui', ojiera-bal-
let, ib.. May 31, 1757 ; Les Si/harites, opera,
ib., July 12, 1757 ; Les Paladins, opera-
ballet, ib., Feb. 12, 17G0 ; Le procureur
dupe, opcra-comiquc (not performed, written
about 1760) ; Linus, tragedio-lyrique (id.,
about 1700) ; Abaris, ou les Boreades, do.
(id., about 17G2) ; Roland (left unfinished,
1764). Also divertissements for L'enrole-
ment d'Ai'lequin, Paris, 1726 ; and for the fol-
lowing Inlays by Piron : L'Endriague, Paris,
1723 ; Les coui'ses du Tempe, ib., 1734 ;
La rose, ib., March 5, 1744 ; Le faux pro-
digue, ib., 1744. II. Cantatas : Thetis ;
L'impatieuce ; La musette ; Aquilon et
Orithie ; Le berger fidele ; L'enlovement
d'Orithie ; Orphee et les amans trahis ;
Medee ; L' absence. IIL Instrumental :
Premier livre de pieces de clavecin (Paris,
1706) ; Deuxic'me livre (ib., 1721) ; Trois-
ieme livre, pieces de clavecin avec uue table
pour les agremens (ib., 1730) ; Nouvelles
suites de pieces de clavecin avec des re-
marques sur les differens genres de mu-
sique (ib.) ; Three concertos for the clavecin,
violin, and bass viol, published by Leclerc
(Paris, 1741 ; also in London) ; and pieces
for the organ in MS. Some of his harpsi-
chord music has been published in the
"Tresor des pianistes ; " in Pauer's "Alte
Klaviermusik ; " in Pauer's " Alte Meister ; "
and in "Lesperlesmusicales." IV. Church
music : Motets with choruses : In conver-
tendo quam dilecta ; and Deus noster re-
fugium (in MS.) ; Motet, Laboravi for five
voices and organ (in Le traite de I'harmo-
nie, vol. iii.). V. Theoretical works : Traite
de I'harmonie ri'duite ;i ses principes natu-
rels (three books), (Paris, 1722 ; 3d book
translated into English, London, 1737 ; 3d
English ed., ib., 1752) ; Nouveau Systeme de
musique theorique, etc. (Paris, 1726) ; Dis-
sertation sur les differentes methodes d'ac-
compagnement pour le clavecin ou pour
I'orgue (ib., 1732 ; 2d ed., 1742) ; Lettre
au P. Castel au sujet de quelques nouvelles
reflexions sur la musique (in Menioires de
Trevoux, July, 1736) ; Generation barmo-
nique, etc. (Paris, 1737) ; Demonstration du
principc de Tharmonie, servant de base a
tout I'art musical (1752) ; Reflexions de M.
Rameau sur la maniore de former la voLx,
d'apprendrc la musique, et sur nos facultes
pour les arts d'exercice (Mercure de France,
1752) ; Extrait d'uno reponse de M. Rameau
a. M. Euler sur I'identite des octaves, d'oh
resultent des verites d'autaut plus curieuses
qu'elles n'ont pas encore etc soupgonnees
(1753) ; Observations sur notre instinct pour
la musique et sur son principe (1754) ;
Erreurs sur la musique dans I'Encyclopcdie
(1755) ; Suite des erreurs sur la musique
dans I'Encyclopedie (1756) ; Reponse de M.
Rameau a MIVL les editeurs de I'Encyclo-
pi'die sur leur dernier avertissement (1757) ;
Lettre de M. d'Alembert a M. Rameau, cou-
cernant le corps sonore, avec la reponse de
M. Rameau (1758) ; Prospectus du code de
musique (1759) ; Code de musique pra-
tique, etc. (1760) ; Origine des sciences
suivie d'une controverse sur le meme sujet
(1761) ; Lettre aux philosophes, concemant
180
KANDEGGEll
le corps sonore et la sympathie des tons
(Memoires de Trevoux, 1762) ; Traite de la
composition dea canons en
musique ; Verites interes-
santes peu connues jusquTi
nos jours ; Des avautagea que la musique
doit retirer dea nouvelles decoiivertes (un-
finished).— Ducbager, Reflexioua sur divers
ouvrages de M. Rameau (Rennes, 1701) ;
Rameau aux Cbamps-Elysces (Amsterdam,
1764) ; Ordro clirouique des deuils de cour
l)our raunc'e 1704 ; Palissot, Nucrologe des
liommes ceK'bres pour I'anuee 1705 (Mercure
de France, 1705, vol. i.) ; Maret, Eloge bis-
torique de Rameau (Paris, 1700) ; Jean-
Francois, poem entitled " La Rameide "
(Paris, 1700), parodie "La nouvelle Ra-
meide;" Gautier Dagoby, Galerie franjaise
(1771) ; Croix, Ami des arts (Paris, 1776) ;
Apotbeose de Rameau, scenes lyriques, text
by M. . . music by M. . . (Dijon,
1783) ; Rameau, ballet-allegorique in one
act, by M. Lefebvre, for the centenary of
Rameau's birth, Paris, 1784 ; Maunce Bour-
ges, Gaz. mus. de Paris (183!)), 201, 205,
22S, 230 ; Adolphe Adam, Rameau (Paris,
1804) ; Charles Poisot, Notice sur Rameau
(ik, 1804); Th. Nisard, Mouographio do
Jean Philippe Rameau (ib., 1807) ; Deliber-
ation du conseil municipal de Dijon sur la
projiosition d'eriger une statue a Rameau,
rapport presente par M. Muteau (Dijon,
1870) ; H. Grique, Rameau, sa vie, ses ouv-
rages (Dijon, 1876) ; Ai'thur Pougin, Ra-
meau, Essai sur sa vie et ses oeuvres (Paris,
1876) ; Diderot, Le neveu de Rameau (many
editions) ; Fetis ; Mendel ; Grove ; Rie-
mann.
RANDEGGER, ALBERTO, born at
Trieste, April 13, 1832, still living, 1890.
Dramatic composer, and professor of sing-
ing, pupil of Lafont on the pianoforte, and
of Luigi Ricci in composition. He was
musical director at Fiume, Zara, Sinigaglia,
Brescia, and Venice, and about 1854 left
Italy for Paris, then went to London, where
be has since resided as a successful vocal
teacher. He became in 1808 professor of
singing at the Royal Academy of Music, and
subsequently director of that institution and
member of the com-
mittee of manage-
ment. In 1857 be
conducted a series
of Italian operas at
St. James's Theatre,
and in 1879-85 the
Carl Rosa companj-.
He was also, in 1880,
conductor of the
Norwich Festival, and baa conducted oth-
er festivals. Works : La fidanzata di Castel-
lamare, ballet, Trieste, about 1850 ; La
sposa di Appenzello, do., ib. ; II lazzarone,
opera bufi'a (with Rota, Zelman, and Beyer),
ib., 1852 ; Bianca Capello, opera, Brescia,
1854 ; The Rival Beauties, comic opera,
Leeds, 1804 ; 3Iedea, dramatic scena, Leip-
sic, 1869 ; Saffo, do., London, 1875 ; Fri-
dolin, cantata, Birmingham Festival, 1873 ;
Psalm CL, Boston Festival, 1872 ; Funeral
anthem in memorj- of the Prince Consort ;
Scena, text from Byron's "Prayer of Na-
ture," for tenor and orchestra, 1887 ; Many
songs, and concerted vocal music with or-
chestra or pianoforte. — Fetis, Supplement,
ii. 394 ; Grove ; Riemann.
RANDHARTINGER, BENEDICT, born
at Ruprecbtshofen, Nether Austria, July 27,
1802, still living, 1890. At the age of ten
he became a choir-boy in the court chapel
of Vienna, studied later under Salieri, and
was very intimate with Schubert. After
studying law, he was for seven years pri-
vate secretary to Count Szechenyi, a court
official ; then he became tenor singer of the
court chapel in 1832, Vize-Kapellmeister in
1844, and Hof-Kapellmeister on the death
of Assmayer in 1862. He was pensioned
in 1806, and decorated with the Franz Jo-
seph Order. He travelled much during bis
vacations. Works : KOnig Euzio, opera ; 20
masses ; 2 Requiems ; 60 motets ; 42 gradu-
als and offertories ; 20 sacred arias with har-
monium and violoncello ; 2 symphonies ;
Quintet for strings ; 2 quartets for do. ;
181
liANZ
Trio for pianoforte and strings ; marclies
and variations for pianoforte (4 hands) ; 400
songs ; 10 three-part and 76 four-part songs ;
4 books of Greek popular songs ; Greek
ritual songs, and much other music. Of
his works, numbering more than 600, only
about 124 have been published. — Wurz-
bach ; Schilling ; Mendel ; Fetis.
EANZ DES VACHES (Kuhreihen, Kuh-
reigen, in the Appenzell patois Chiiereiba),
a strain blown upon the Alpine horn to call
the cows to pasture. The word Ranz,
which has been derived from various roots,
means the procession, or march of the cows.
There are numerous Ranz des vaches, vai-i-
riously played in the different cantons of
Switzerland, and possessing great charm
when heard in the Alpine valleys. The
most celebrated is that of Appenzell, a copy
of which is supposed to have been sent to
Queen Anne of England, who was especially
fond of the Swiss melody. The Ranz des
vaches is used with great eftect by Rossini
in his overture to Guillaume Tell, and also
by Grotry in the overture to his opera of
the same title. It has also been arranged
by Weigl, Webbe, and by Adam in his " Mc-
thode de riauo du Conservatoire." It was
first iwinted in Georg Rhaw's "Bicinia"
(Wittenberg, 1545). The Ranz des vaches
has been arranged by ]\Ieyerbcer, for one
and two voices, with French and German
test (Schlesinger, Berlin, 1828). One version
in Rousseau's " Dictionnaire de Musique,"
arranged for four voices by Laborde, is
printed in his '" Essai sur la musique."
Ranz des vaches, melodie by Ferdinand
Huber, with variations by Liszt, dedicated
to Adolphe Pictet. — Dissertation on Nostal-
gia in Zwiuger's " Fasciculus Dissertationum
Medicarum " (Basel, 1710) ; Cappeller, Pi-
lati Montis Historia (1757) ; Stolberg, Reise
im Deutschland der Schweiz (1798) ; Ebel,
Schilderung der Gebirgsvijlker der Schweiz
(1798) ; Sigmund von Wagner, Acht Schwei-
zer Kuhreihen (1805) ; Casteluau, Conside-
rations sur la Nostalgic (1806) ; Edward
Jones, Musical Curiosities (1811) ; Tarenne,
Sammlung von Schweizer Kuhreihen und
VolksUedern (1818) ; J. R. Wyss, Texte zu
der Sammlung von Schweizer Kiihreihen
und VolksUedern (Berne, 1826) ; Huber,
Recueil de Ranz des vaches (1830) ; Tobler,
AppenzeUischer Sprachschatz (1837) ; Grove,
iii. 75 ; Harmonicon (1824), 37, 58 ; AUgem.
mus. Zeitg., xxx. 599.
RAOUL DE COUCY. See Counj.
RAOUL DE CREQUI, comedie-lyrique
in three acts, text by Slonvel, music by
Dalayrae, first represented at the Italiens,
Paris, Oct. 31, 1789. It was first given in
Berlin, Nov. 19, 1804 ; in Vicuna in 1805.
A ballet was arranged to the music by Vi-
gano, Berlin, 1797. Italian operas on this
subject : Raoul di Crequi, bj' Simon Mayr,
text by Romauelh, Jililan, Dec. 26, 1809 ;
by Francesco Morlacchi, Dresden, April,
1811 ; by Valentino Fioravanti, Naj^les,
1811 ; and by Francesco AltaviUa, Turin,
about 1848.
RAOUX, LOUIS ALEXIS, born at Cour-
trai, Sept. 11, 1814, died at ]5vcre-les-Bru-
xeUes, Nov. 15, 1855. Dramatic composer,
pupil of J. H. Mees' music academy at Brus-
sels ; became in 1827 instructor at the royal
school of music, and in 1831 founded a
free music school. In 1833 lie became
professor at the Conservatoire, in 1835
opened an academy of music, and in 1839
founded a conservatoire for classic and
sacred music. Works : Les deux pro-
ceptcurs, opera-comique ; Le mariage a
I'anglaise, do. ; Choruses to Athalie ; Sym-
phonies, overtures, masses, motets, an ora-
torio, cantatas, etc. — Fetis, Sujjplument, ii.
395.
RAPDIENTO DI CEFALO, IL (The
Rape of Cephalus), Italian opera in five acts,
with prologue entitled La poesia, text by
Chiabera, music by Caccini, first represented
at the Pitti Palace, Florence, Oct. 9, 1597.
It was composed by order of the Gi'and
Duke of Tuscany for the marriage festivi-
ties of Maria de' Medici and Henri FV. of
France. The choruses were written by
Stefano Veuturi del Nibbio, Piero Strozzi,
182
KAPPOLDl
and Liica Bati. It was represented after-
wards in a theatre in Florence, and was
published in 1605. Same subject, II ratto
di Cefalo, Italian opera, text by Berni, mu-
sic by Andrea Mattioli, given in Fen-ara,
1651, when new machinery invented by
Carlo Pasetti was used. — Futis, ii. 140 ; Am-
bros, iv. 272.
RAPPOLDI, EDUAED, born in Vienna,
Feb. 21, 1839, still
living, 1800. Vir-
tuoso on the violin,
pupil of Jausa, Hell-
mesberger, and
Bohm, and in com-
position of Sechter
and HUler. He was
a member of the
opera orchestra in
Vienna, in 1854-61, concertmeester in Rot-
terdam in 1861-66, Kapellmeister in Lii-
beck, Stettin, and Prague in 1866-70.
Then he became instructor at the royal
school of music in Berlin, where he was a
colleague of Joachim's and a member of his
quartet, and in 1876 was apjDointed royal
professor. In 1877 he became Conzert-
meister at the Opera and professor at the
Conservatorium in Dresden. In 1874 he
married the pianist Laura Kahrer. Though
a virtuoso of the first rank, he prefers artis-
tic inteq^retation to display. Works : Sym-
phonies, quartets, sonatas, and songs with
p)ianoforte accompaniment. — Mendel ; Rie-
maun ; Mus. Wochenblatt, ix. 480.
RAPPRESENTAZIONE DELL' ANDLi
E DEL CORPO, LA (Representation of
the Soul and the Body), Italian musical
drama, text by Lauro Guidiccioni, of the
house of Lucchesini, music by Cavalieri, first
represented in the oratory of Santa Maria
in Vallicella, Rome, in February, 1600. It
is one of the first works in which the in-
strumental bass (basso continuo) differs
from the vocal bass. It is evident that the
composer felt the need of modulation, but
his harmonies are crude and in false rela-
tion. The choruses are rhythmical, and
belong to the style of the Neapolitan viUa-
nelle, and the arias resemble those of Peri
and Caccini. Published by Alexander Gui-
dotti (Bologna, 1600).— Ambros, iv. 275.
RASOUMOWSKY QUARTETS, three
quartets for two violins, viola, and violon-
cello in F, E minor, and C, by Beethoven,
op. 59, dedicated to Count Rasoumowsky,
probably first played at the Count's house
in Vienna by his quartet — Schuppanzigh,
first violin ; Count Rasoumowsky, second
violin ; Weiss, viola ; and Lincke, violon-
cello. The original MS. of the first quartet,
in the possession of Paul Mendelssohn, is
dated "Quartette angefangen, 26 May, 1807."
These three quartets were finished and
played before Feb. 27, 1807. Mendelssohn
considered the quartet in F, op. 59, and that
in F minor, op. 95, the most Beethovenish
of all his works. The finale of the quartet
in F has a Russian theme in D minor for
its chief subject. No. 1, in F : I. Allegro ;
n. Allegretto vivace e sempre scherzando ;
in. Adagio molto e mesto ; IV. Finale,
Allegro. No. 2, in E minor : I. Allegro ; II.
Molto adagio ; III. Allegro ; IV. Presto.
No. 3, in C : I. titroduzione. Andante con
moto ; n. Andante con moto quasi alle-
gretto ; m. Minuetto grazioso ; IV. Finale,
Allegro molto. Published by Andre (Offen-
bach) ; by Heckel (Manheim) ; by Lanner
(Paris) ; by Peters (Leipsic) ; by Breitkopf
& Hiirtel, Beethoven Werke, Serie vi., Nos.
7, 8, 9. — Lenz, Beethoven, ii., part i. 14-48 ;
Marx, Beethoven, ii. 34-52 ; Thayer, Ver-
zeichniss, No. 127 ; Grove, iii. 77 ; Nohl,
Beethoven, ii. 243, 495 ; Allgem. mus.
Zeitg., ix. 400.
RASTRELLI, JOSEF, born in Dresden,
April 13, 1799, died there, Nov. 14, 1842.
Dramatic and church composer, son of the
following ; pupil of Poland on the violin, of
the organist Feidler in harmony, and at
Bologna, whither he accompanied his father
in 1814, pupil of Mattel in counterpoint.
In 1817 he returned to Dresden, and en-
tered the royal orchestra as violinist, vis-
ited Italy again in 1824, was appointed in
183
RASTKELLI
1829 second Kapellmeister of the court
opera in Dresden, and in 1830 Hof-Kaisell-
meister. Works — Operas : La distruzione
di Gerusalemme, Ancona, 181G ; La scbiava
circassa, Dresden, 1817 ; Le donue curiose,
opera buffa, ib., 1821 ; Velleda, ib.; Amina,
Milan, 1824 ; Salvator Eosa, Dresden, 1832 ;
Bertha de Bretague, ib., 1835. Der Raub
Zetulbeus, ballet ; Music to Macbeth ; Sev-
eral masses ; Vespers ; Miserere ; Salve Ee-
gina, etc. — Fetis; MendeL
KASTRELLI, \TNCENZO, born at Fauo
in 17G0, died in Dresden, March 20, 1839.
Church composer, pui)il of Mattel in Bo-
logna, having already been a successful in-
structor of singing in his native city, whither
he returned in 1786 to become maestro di
cappella of the cathedral. Shortly after-
wards he entered the service of the Elector
of Saxony as composer of the court chapel,
and remained in this i)Osition until 1802,
when he went to Moscow. About the end
of 180G he visited Italy, and was soon re-
called to Dresden, but resigned in 1814 to
make another journey to Italy. After his
return to Dresden, he taught singing, and
in 1824 was reinstated in his post as court
composer, and pensioned in 1831. Works :
Tobias, oratorio ; 10 masses ; 3 vcspei-s ;
Canzonette, arias, duos, etc. — Fctis ; Men-
del.
RATAPLAN. See Fille du regiment;
Hitguenotf.
EATHGEBER, VALENTIN, composer,
born at Ober-Elsbach, Bavaria, about 1690,
died after 1744. He was a Benedictine
monk at Bantheln in Franconia, and a most
industrious composer. Works : Masses ;
Vespers ; Offertories ; Litanies ; Psalms ;
Hymns ; Chelis sonora (1728), containing
concertos and sj'mpbonies concertantes for
different instruments ; Musikalischer Zeit-
vertreib auf dem Klavier (1743) ; Songs and
other pieces. — Walther ; Gerber ; SchiUing ;
Mendel ; Fetis.
RATTI, LAURENTITJS, born in Perugia,
second half of the 16th century, died at
Loreto in 1630. Church comi^oser, pupil
of Vincenzo Ugolini in Rome, where he was
afterwards maestro di cappella in the Ro-
man seminary and the German coUege.
Later he occupied the same position in the
church at Loreto. Works : MadrigaU a
cinque voci, 1st book (Venice, 1615) ; do.,
2d book (ib., 1616) ; Mottecta, 1st book
(Rome, 1617) ; do., 2d book (ib., 1G19) ;
Motetti a 1-G voci (Venice, 1620) ; Litanie
della Beata Vergine a 5-12 voci (ib., 1626) ;
Sacra) modulationes, seu Graduali et Offer-
torii 1-12 vocum (ib., 1628); Cantica Salo-
monis 1-5 vocibus concinenda, etc. (ib.,
1632).— Ft'tis.
RATZENBERGER, THEODOR, born at
Grossbreitenbach, Thuriugia, Ajjril 14,
1840, still living, 1890. Pianist, pupil of
Liszt, and in theory of Peter ComeHus.
He played with great success in concerts at
Geneva, Berne, Zurich, and other cities of
Switzerland, and in 1859 at Sonder.shausen,
where he was made court pianist ; in 1863 in
Switzerland, Belgium, and Paris, settled at
Lausanne in 1864, at Wilrzburg in 1866,
and at Diisseldorf in 1868. Works : 2 con-
certos for pianoforte ; Orchestral works ;
Pianoforte pieces and songs.
RAUB DER S.ABINERmNEN, DER,
(The Rape of the Sabines), dramatic cantata
for chorus, soli, and orchestra, text by
Arthur Fitger, music by Georg Vierling,
op. 50. Published by Leuckart (Lei23sic,
1877). Operas on the same subject in Ital-
ian : II ratto delle Sabine, by Draghi, text
by Minato, Vienna, 1674, on the birthday of
Leopold I. ; by Pietro Simone Agostini,
text by Bussani, Venice, 1680, Bologna,
1689 ; by Zlngarelli, text by Rossi, Venice,
1800 ; and by F. Palmieri, text by Alfano,
Naples, Dec. 4, 1878 ; Le Sabine, by Lauro
Rossi, text by Peruzzini, Milan, Feb. 21,
1852 ; and Le Sabine in Roma, ballet by
Peter Lichtenthal, text by Vigano, Milan,
Dec. 26, 1820. L'enlevement des Sabines,
in French, by Fran9ois Devienne, text by
Picard, Paris, Oct. 31, 1792 ; Der Raub der
Sabinerinnen, in German, by von Zaytz,
text by Betty Young, Aug. 4, 1870 ; and
184
RAUCIIENECKER
by Josef Platzer, Munich, Nov. 1876 ; and
El robo de las Sabinas, by F. Barbieri, Mad-
rid, Feb. 17, 1879.— Signale (1877), 99.
EAUCHENECKER, GEOIIG (WIL-
HELM), born in Munich, March 8, 1811,
still living, 1890. Instrumental and vocal
composer, j'upil of Theodor Lachner on
the pianoforte and organ, of Baumgartner
in counterpoint, and of Josef Walter on the
violin. Li 1800-G2 he was violinist at the
Grand Tlicdtre iu Lyons, vmtil 18C8 maitre
de chai^elle at Aix and Carpentras, then
director of the Conservatoire at Avignon,
and since 1873 music director at Wiuter-
thur. Works : Le Florentin, opera ; Ni-
klaus von der FlUe, cantata (prize), music fes-
tival, Ziirich, 1874 ; Symphony ; 3 quartets
for strings, etc. — Eiemann.
KAULT, FELIX, born at Bordeaux in
173C, died iu Paris after 1800. Flute
player, pupil of Blavel in Paris, where he
entered the orchestra of the Opera in 1753 ;
Member in 17G8-92 of the King's jDrivate
orchestra. During the reign of terror he
lost his pension from the Opera, granted
in 1776, and on the close of the orchestra
of the Theatre de la Cite, where ho played,
became destitute. Works : 2 concertos for
flute and orchestra ; Trios for flutes and
bassoon ; Do. for flute and strings ; 6 duos
concertants ; Sonatas for flute and bass ;
Duos, recueils d'airs, etc., for flutes. — Fe-
tis ; Mendel.
'EAUS MIT DEM NASS. See Straddla.
EAUZZINI, MATTEO, born in Eome in
1754, died in Dublin iu 1791. Dramatic
singer and composei-, brother of the follow-
ing, whom he joined at Munich iu 1770,
and accompanied to England in 1774 ;
shortly after he was engaged at the theatre
in Dublin, and settled there to teach sing-
ing. Works : Le finte gemelle, opera buffa,
Munich, 1772 ; II ro pastore, DubHu, 1784.
— Fetis.
EAUZZINI, VENANZIO, born in Eome
in 1747, died at Bath, England, April 8,
1810. Dramatic composer, pupil in com-
position of a cantor of the Pontifical Chapel.
He made his debut in 1765 ; sang in Vi-
enna in 1767, and next in Munich, where
four of his ojseras
were represented.
In 1774 he mado
his first appearance
at the King's The-
atre, London, where
he remained until
1787 as a singing
teacher, number-
ing among his pu-
jiils Miss Storace,
Braham, Miss Poole, and Incledon. In
1787 he settled at Bath, as a teacher and
concert giver. He entertained there Haydn,
who wrote a 4-part canon or round to his
dog Turk. Works — Operas : Piramo e
Tisbe, Munich, 1769 ; L' ali d' amore, ib.,
1770 ; L' eroecinese, ib., 1770 ; Astarte, ib.,
1772 ; La regina di Golconda, Loudon,
1775 ; Armida, ib., 1778 ; Creusa in Delfi,
ib., 1782 ; La vestale, ib., 1787. String
quartets ; Sonatas for pianoforte ; Italian
arias and duets, and English songs ;
Eequiem, produced at Haymarket Theatre
in 1801. — Grove ; Fetis ; Hogarth, Mem. of
Mus. Drama, ii. 174; Burney, Hist., iv. 51 ;
Schilling ; Gerber ; Mendel ; Harmouicon
(1832), 147.
EAVAL, SEBASTIANO, Spanish contra-
puntist of the end of the 16th and begin-
ning of the 17th century. After occupying
various positions, he became maestro di
cappella to the viceroy of Sicily in the ca-
thedral at Palermo. Works : II prinio libro
di canzonette, etc. (Venice, 1593) ; Libro de'
Motetti a 3-8 voci, etc. (Palermo, 1601) ;
Madrigali a 5 voci (Venice, 1585). — Fetis ;
Mendel.
EAVENSCEOFT, JOHN, English com-
poser of the close of the 17th century, died
about 1745. He was one of the Waits of
the Tower Hamlets and violinist at Good-
man's Fields Theatre. He published a col-
lection of hornpipes, two of which are given
in Hawkins's History, and a set of sonatas
by him in three parts (two violins and vio-
185
KAYENSCROFT
lone or arch-lute) were printed in Kome in
1695.
EAVENSCROFT, TH0:MAS, bom in
England, about 1582, died in London about
1635. He was a chorister of St. Paul's un-
der Edward Pearce, and was graduated in
1G07 as Mus. Bac. at Cambridge. Works :
PammeUa . . . Roundelayes and de-
lightful Catches of 3, 4, 5, 6, 7, 8, 9, 10
Parts in one (London, 1G09 ; 2d ed., 1618),
the earliest coUectiou of rounds and catches
published iu Britain ; Deuteromelia, a col-
lection of roundelays and catches (ib.,
1609) ; Melismata, Musical Phansies . .
to 3, 4, and 5 voyces (ib., 1614) ; The Whole
Booke of Psalmes . . composed into 4
parts by Sundry Authors (ib., 1G21 ; 2d
ed., 1633). Four of his anthems (MS.)
are preserved at Christ Church, Oxford.
—Grove.
KA"VTNA, JEAN HENRI, born at Bor-
deaux, May 20, 1818, still li\-ing, 1890. Pi-
anist, pupil at the Paris Conservatoire of
Laurent and Zimmerman ; won the second
prize in 1832, the first in 1834, and aj>
pointed assistant instructor in the same
year ; studied composition under Reicha
and Leborne. Having obtained the first
prize for hai-mouy in 1835, he resigned his
j)osition in Februai-y, 1837, to appear in
public as a vii'tuoso. He travelled iu Russia
iu 1858, and in Sixain iu 1871. Legion of
Honour, 1861. Works : Concerto for pi-
anoforte and orchestra ; Morceau de con-
cert, for do. ; £tudes de concert ; Etudes
caracteristiques ; Rondeaux, fantaisies, etc.
— Fctis, Sujiplcment, ii. 395.
EAYITS (Ravets), ANTOINE GUIL-
LAUME, born at Louvaiu, in 1758, died at
Antwerj), iu 1827. Church composer, pupil
of Mathias Van den Gheyn. He was organist
at St. James' Church in his native city, after-
wards at the Augustine Church in Antwerp.
Works : Many motets and organ preludes
with orchestra ; Quis sicut Dominus ;
Requiem with orchestra ; De j)rofundis for
2 voices, organ, and orchestra ; Jesu Corona
vu'ginum ; Confiteantur ; Verbum super-
num ; Tecum principum ; Juravit Dominua
— Fetis ; Mendel.
RAYMOND, EDUARD, born at Breslau,
Sept. 27, 1812, still living, 1890. Violinist,
Ijupil of Karl Luge, with whom he played
in pubUc at the age of fourteen. In 1834-
38 he was a member of the theatre orches-
tra in his native city, in 1839 became con-
ductor of the Laetitia Society, and in 1844
of the Sonntags - Gesellschaft. Works :
Three operas (MS.) ; 2 symphonies ; 2 over-
tures ; Nocturne for strings, flute, clarinet,
bassoon, and horn ; Grande polonaise, for
violin, with orchestra or pianoforte ; Grande
fantaisie, for do. ; Pieces for violin and pi-
anoforte.— Fetis ; Mendel.
REA, WILLLUI, born in London, March
25, 1827, still living, 1890. Organist, pu-
jiil on the pianoforte and organ of Josiah
Pittman, whose deputy he was for several
years ; appointed in 1843 organist to Chiist
Church, Watney Street. He studied for a
time under Sterndale Bennett, in 1849 in
Leipsic under Moscheles and Eichter, and
in Prague under Dreyschock. On his re-
turn to England in 1853 he gave concerts,
and became organist to the Hai-monic
Union. In 1856 he founded the London
Polyhymnian choir, in 1858 became organ-
ist of St. Michael's, Stockwell, and in 1860
to the corporation of Newcastle-on-Tyne.
In 1880 he became organist of St. Hilda's,
South Shields. Works : Organ and piano-
forte music ; Anthems ; Songs. — Grove ;
Riemann.
READ, DANIEL, born at Rehoboth,
Massachusetts, Nov. 2, 1757, died in New
Haven, Connecticut, Dec. 4, 1836. He was
of American parentage (son of Daniel and
ilary Read), and was a comb-maker by
trade. One of the earliest of American
psalmodists, his music is full of vigour, and
several of his tunes, especially Sherburne,
Winter, Windham, Lisbon, and Russia, are
still sung. In 1778 he removed to near
Stratford, Conn., and thence to New Haven.
Works : The American Singing Book (New
Haven, 1785) ; The American Musical Maga-
18t
EEALM
zine (ib., 178G) ; The Child's Instructor in
Vocal Music (ib., before 1793) ; Columbian
Harmonist (No. 1, ib., 1793; No. 2, ib.,
1794 ; No. 3, ib., 1795 ; 2d ed., with sup-
plement of 24 pages by Joel Read, Dedliam,
Mass., 1804 ; 3d ed., supplement of 32 pages
by Daniel Read, ib., 180G — enlarged, Bos-
ton, 1807; 4th ed., Boston, 1810); Now
Haven Collection (New Haven, 1818). His
brother Joel (born, 1753) wrote music and
published, besides the above supplement,
The New England Selection, or Plain Psal-
modist (1809). Another brother, William
(born, 17G4), also wrote music, and a neph-
ew, Ezra Read (born, 1777), was associated
with Daniel in pubUshing music books.
REALM OF FANCY, THE, cantata for
soprano solo, chorus, and orchestra, music
by John Knowles Paine, op. 36, set to
Keats's poem of this title, written for and
first performed by the Boylston Club, Bos-
ton, in 1882. — Upton, Standard Cantatas,
288.
REAY, SAMUEL, born at Hexham,
Northumberland, England, March 17, 1S2G,
still living, 1890. Organist, pujiil of his
father (organist of Hexham Church) ; chor-
ister in Durham Cathedral, where he stud-
ied under Rev. P. Penson, and later under
James Stimpson. In 1843 he became or-
ganist of St. Andrew's, Newcastle ; in 1847
of St. Peter's, Tiverton ; in 1854 of St.
John's, Hampstead ; in 185G of St. Saviour's,
Paddington ; in 1859 of St. Peter's College,
Radley, and in 1864 of church at New-
ark-on-Trent. Mus. Bac, Oxford, 1871.
Works : Morning and evening service in F ;
Anthems and other church music ; Songs
and part-songs.
REBEKAH, English oratorio, text by
Arthur Mathison, music by Joseph Barnby,
first performed at St. James's Hall, Loudon,
May 11, 1870. It contains but two scenes :
the meeting of Abraham's servant and Re-
bekah at the well, and the meeting of Isaac
and his bride. — Athenaeum (1870), i. 685.
REBEKKA, biblical idyl, for soli, chorus,
and orchestra, text from the Bible, music
by Ferdinand Hiller, op. 182, first performed
in Stuttgart, under Hiller's direction, June
19, 1878. Full, and pianoforte score pub-
lished by Alt & Uhrig (Cologne, 1878).
REBEL, FRANyOIS, born in Paris, June
19, 1701, died there, Nov. 7, 1775. Violin-
ist, son and pupil of Jean Ferry Rebel ;
joined the orchestra of the Opera at the age
of thirteen, became intimate with Fran9ois
Francceur, and conjointly with him com-
posed ten operas. Both were chefs d'or-
chestre at the Opt'ra in 1733-44, later in-
spectors, and in 1753-57 directors there,
and then till 17G7 impresarios. Louis XV.
appointed Rebel superintendent of music,
and in 1772 inspector-general of the Opera.
Works : Pyrame et Thisbc'', given at the
Op6ra, Paris, 172G ; Tharsis et Zelie, ib.,
1728 ; Scanderbeg, ib., 1735 ; Le ballet de
lapaix, ib.,1738 ; Les Augustales, prologue,
ib., 1744; Zeliudor et Ismone, ib., 1745;
Les genies tutelaires, ib., 1751 ; Le prince
de Noisy, ib., 1760 ; Te Deum ; De pro-
fundis. Concert Spirituel. — Fotis ; Mendel ;
Riemaun.
REBEL, JEAN FERRY, born in Paris
iu 1G(!9, died there in 1747. Violinist,
entered the Opera orchestra in 1699, became
accompanist and in 1707 chef d'orchestre.
Ciiamber composer to the King and one of
his 24 violins. His opera, Ulysse, given in
1703, had little success, but a pas-seul, Le
caprice, written for a then celebrated dan-
seuse, remained a favourite ballet piece for
years. He composed violin solos for other
ballets, duo sonatas for violin, and a book
of trios for two violins, with basso con-
tinue for harpsichord. — Fetis ; Lajarte,
Biblio. mus. de I'Opera, i. 1661 ; Riemann ;
Schilling.
REBELLO, JOlO SCARES (or Lau-
renyo), born at Caminha, Portugal, in 1609,
died at San Amaro, near Lisbon, Nov. 16,
1661. Church composer, entered the ser-
vice of the house of Braganza at the age of
fifteen, and was the teacher of King Joao
IV. Contemporary writers exalt him as
one of the greatest Portuguese composers.
187
llEBEFt
Of his numerous works only a book of
psalms for 16 voices, Magnificats, lamenta-
tions, and Misereres ■with continuo, were
published (Rome, 1057). Masses and other
music are in manuscript at Lisbon. — Fctis ;
Vasconcellos.
REBEK, NAPOLlfiON HENRI, bom at
Miihlhauseu, Alsace,
Oct. 21, 1807, died in
Paris, Nov. 24, 1880.
Dramatic composer,
pupil of Reicha and Le-
sueur at the Paris
Conservatoire, where
he became professor
of harmony in 1851,
and of composition in
18fi2, succeeding Ha-
Icvy. In 1853 he was elected member of
the Acadi'mie, and in 1871 appointed iu-
sjiector of the branch schools of the Con-
servatoire. He distinguished himself in
instrumental composition, in the spirit of
the German classics. "Works — Operas : La
nuit de NoOl, given at the Ojn'ra Comique,
1848 ; Le p^re Gaillard, ib., 1852 ; Les pap-
illotes de M. Benoist, ib., 1853 ; Les dames
capitaines, ib., 1857 ; Le mt'ui'tricr a la
cour, comic opei'a, and Nairn, grand opera,
not given. 4 sj'mphonies ; Overture for
orchestra ; Suite for do.; Iloland, sci'ucs
lyriques for do., Paris, 1875 ; Quintet for
strings; 3 quartets for do.; Quartet for
pianoforte and strings ; 7 trios for do. ;
Pieces for violin and pianoforte ; Do. for
pianoforte (2 and 4 hands) ; Chorus of
Pu-ates for three-part male chorus and pi-
anoforte ; Le soir, for four-part male chorus
and pianoforte ; Ave Maria and Agnus Dei,
for 2 soprani, tenor, bass, and organ. His
Traite d'harmonie (18G2) counts among
the best modern theoretical works. — Fotis ;
Mendel ; Rieniann.
REELING, GUSTAV, born at Barby,
Magdeburg, July 10, 1821, still living, 1890.
Virtuoso on the organ and church com-
poser, first instructed by his father, then in
Dessau, in 183G-39, pupil of Friedrich
Schneider. He was appointed in 1839 or-
ganist of the French church at Magdeburg,
in 1847 instructor at
the seminary, in 1853
choinnaster at t li e
cathedral and vocal
teacher at the gym-
nasium, and in 185(5
court music director.
Since 1858 he has
been organist of St.
John's church. In
1846 he established the Kirchcngesangve-
rein. Works : Psalms for 4-8 voices a
capella ; Do. for one voice with organ ; Mo-
tets ; Music for organ ; Do. for pianoforte ;
Sonata for violoncello ; Choruses ; Songs.
— Mendel ; Riemauu.
RECHENBERG, ERNST, born at Frie-
dersdorf-am-Queiss, SUesia, Oct. 12, 1800,
died (?). Church and instrumental com-
poser, pupil in Berlin at the royal institute
for chui-ch music, and of B. Klein in com-
position. He devoted himself to teaching,
and settled in Berlin as professor of music.
Carl Eckert is one of his pupils. Works :
Gott ist unser Heil, Psalm for voices, or-
chestra and organ ; Allgemeines Choralbucli
with jireludcs and conclusions, selected
from the works of old masters ; Pianoforte
music ; Songs. — Fetis ; Mendel.
REDEIU^TION HYMN, for contralto
solo, chorus, and orchestra, text from
Isaiah (liii.), music by James C. D. Parker,
first performed by the Handel and Haydn
Society, Boston, May 17, 1877, when the
solo was sung by Annie Louise Cary. It
has been given by various musical societies
throughout this country. The pianoforte
score is published by Oliver Ditson & Co.,
Boston. — Upton, Standard Oratorios, 296.
REDEMPTION, LA, oratorio or sacred
trilogy in three parts, text and music by
Gounod, first performed at the Birming-
ham (England) Festival, Aug. 30, 1882.
The solos were sung by Mme Albani, Mme
Marie Ruze, Mme Patey, Jlr. E. Lloyd, Jlr.
W. H. Cummings, Mi-. Santley, Mi-. F. King,
188
EEDERN
and Signer Foli. Gounod began this work
in 18G7, in Rome, wbere be wrote tbe
words, and two fragments of the music :
tbe " March to Calvary," and " The Pente-
cost." Tbe comjioser calls it a "lyrical set-
ting forth of tbe three great facts on which
depends the existence of tbe Christian
Church." Prologue, tbe Creation ; I. Cal-
vary ; n. From the Resurrection to tbe As-
cension ; in. Tbe Pentecost. Characters
represented: Jesus (Bar.) ; Mary (S.) ; and
two Narrators (B. and T.). This oratorio
was first sung in Loudon at Albei't Music
Hall, Nov. 1, 1882 ; in Vienna, Nov. 4,
1883 ; in Paris at the Trocade-ro, April 3,
1884 ; in Rome, in April, 188.5 ; and first in
New York by the New York Chorus Society,
Dec. 15, 1882 ; and it was one of tbe prin-
cipal works given at bis festivals in various
cities of the United States in tbe spring of
1884. Pubbsbed by Novello, Ewer & Co.
(Loudon, 1884) ; pianoforte arrangement
by Berthold Tours ; German translation by
J. Weyl. — Godard, Joseph, Reflections on
Ch. Gounod's Sacred Trilogy, Tbe Redemp-
tion (London, 1882) ; Atheureum (1882), ii.
316, G05 ; Neue Zeitschr. (1884), G7 ; Up-
ton, Standard Oratorios, 98; Sigualc (1883),
1057.
REDERN, FRTEDRICH ^VILHELM,
Graf VON, born in Berlin, Dec. 9, 1802,
died there, Nov. 5, 1883. Amateur com-
poser, pupil of Grell in 1859. Ho studied
law, entered the government service in 1823,
was intendant general of tbe royal opera in
1828-42, and after that of tbe royal court
music, having also had the sujJervisiou
of the Domcbor and of all tbe military
music. He was also royal Prussian lord
steward, privy councillor, and chamberlain.
Works : Christine, opera, given in Berlin,
18G0 ; Laut t/ine uuser Lobgesang, cantata,
ib., Singakademie, 1858 ; Liturgy for 4
voices and chorus ; Musica sacra ; Agnus
Dei ; Adoramus ; Veni Sancte Spiritus ;
Sanctus Dominus ; Nunc dimittis ; Hymnus
angelicus ; Magnificat ; Cbristus factus est ;
Overture for orchestra, Berlin, 1820 ; Con-
cert overture, for do. ; Triumphal march to
tbe tragedy Kaiser Friedrich HI. for piano-
forte ; Torchlight dances, marches, quad-
rilles, etc. — Fetis ; Mendel.
REDIN (Redein), JEAN FRAN(;^OIS,
born in Antwerp, baptized Nov. 5, 1748,
died there, Feb. 24, 1802. Violinist, about
wbo.se musical education nothing is known.
He was first-violin at tbe Cathedral of Ant-
werjj, and seems to have resided in London
in 1789. Works : G duos for 2 violins ; 6
sonatas for do. ; 6 symphonies for 2 vio-
lins, viola, bass, 2 oboes, and 2 horns ; 6
quartets for strings. — Fotis ; Mendel.
REEVE, WDLLIAM, born in London, in
1757, died there, aa'^
June 22, 1815. Or-
ganist, and dramatic
composer, pupil of
Richardson, organ-
ist of St. James,
Westminster. He
was organist at Tot-
nes, in Devonshire,
from 1781 to 1783,
when h e became
composer at Astley's Theatre, London,
and was an actor in several theatres. In
1791 be was commissioned to finish the
music of a ballet j)antoinime, Oscar and
Malvina, left unfinished by Shield, and was
appointed composer to Covent Garden, and
in 1792 organist of St. Martin's, Ludgate
Hill. Works— Music to plays : Oscar and
Malvina, Tippoo Saib, 1791 ; Orpheus and
Eurydice, ballet, adapted froniGluck, 1792 ;
Tbe Apparition, British Fortitude, Hercules
and Ompbale, Tbe Purse, 1794 ; Merry
Sherwood, 1795 ; Ramah Droog (with Maz-
ziugbi), 1798 ; The Turnpike Gate (do.),
1799 ; The Cabinet (with Braham, Davy,
and Moorebead) ; Family Quarrels (with
Braham and Moorebead), 1802 ; and many
others, in all nearly a hundred. — Grove ;
Futis ; Schilling ; Gerber ; Mendel.
REEVES, DAVID WALLIS, born at
Owego, New York, Feb. 14, 1838, still liv-
ing, 1890. Mostly self-educated, but stud-
ies
KEFORMATION
ied the violin and comet under Thomas
Canham, Owego, and harmony under
Jacob Kochkeller, New York. He was solo
cornet in Dodworth's Band, New York,
1864-GG, when he succeeded Joseph C.
Green as director of the American Band
and Orchestra of Providence, Rhode Island,
a position he still retains. He has been
also conductor of the Eocky Point Musical
Festivals, 1875-78, bandmaster of several
military organizations, and director of the
Khode Island Choral Association. He has
made six visits to Eurojie, playing the cor-
net in concerts in London, Liverpool, and
other English cities, and in Berlin and
Dresden, and has made concert tours in all
parts of the United States. "Works : The
Ambassador's Daughter, comic opera, given
in Providence, 1879 ; The Mandarin Zune,
do. pis.) ; More than 70 military marches
(45 published) ; Arrangements and trans-
criptions for band and orchestra.
REFOEMATION SYMPHONY, for or-
chestra, in D, by Mendelssohn, op. 107, first
performed, under the composer's direction,
in Berlin, November, 1832. This, his fifth
symphony, was written with a view to per-
formance at the Tercentenary Festival of
the Augsburg Protestant Confession (June
25, 18'50), presented in 1530 l)y Luther and
Melanchthon to the Emperor Charles V.,
but, owing to the fierce opposition of the
Roman Catholics to the celebration, it was
not given. In 1832 it was rehearsed in
Paris, but was again deferred, and after
Mendelssohn first conducted it in Berlin,
for the benefit of the "Orchestral Widows'
Fund," it was not again given until revived
at the Crystal Palace, London, Nov. 30, 1867.
It was first given by the New York Philhar-
monic in the season of 1867-68. The sym-
phony is constructed in strict form, and illus-
trates the conflict between the old and new
faith. The first movement contains the
passage used for " Amen " in the Catholic
Church of Dresden, known as the " Dres-
den Amen," which is employed also by
Wagner for a Leitmotif in Parsifal. The
fourth movement is, in part, based on
Luther's hymn, " Ein' teste Burg ist unser
Gott," which is combined with a fugue. I.
Andante. Allegro con fuoco ; II. Allegro
vivace ; IH. Andante ; IV. Chorale, Alle-
gro vivace, AUegi-o maestoso. Published
in score and in parts by Novello & Co.
(London) ; and by Simrock as Symphony
No. 5, op. 107, Posthumous works No. 36.
Breitkojif & Hilrtel, IMendelssohn W^erke,
Serie i.. No. 5. — Allgem. mus. Zeitg., xxxv.
22 ; Athenfcum (1SG7), ii. 771 ; Grove, iii.
93 ; iv. 31 ; Upton, Standard Symphonies,
185.
EEGINA DI CIPRO, LA (The Queen of
Cyprus), Italian opera, music by Pacini,
first represented in Turin in 1846, with
Frezzolini, Fraschini, and Balzar in the
cast. Subject, Catarina Cornaro, the fa-
mous Queen of Cyprus. It was given in
Naples, March 10, 1847, and in Trieste in
1864. Other operas on the same theme :
Catarina Cornaro, by Donizetti, Venice,
1844 ; Katherina Cornaro, by Franz Lach-
ner, Munich, 1841 ; an<l La rriiic de Chypre,
by Halovy, Paris, 1841. — Allgem. mus.
Zeitg., xlix. 231.
REGIS (De Roi), JEAN, known also as
Koninck or De Coninck, one of the cele-
brated Belgian composers of the middle
and last half of the 15th century. Ho was
contemporary with Okeghem, Busnois, and
Caron, and, according to Tiuctoris's " Pro-
portionale " (1476), one of the most clever
musicians of his time. Little else is known
of him ; from the researches made by de
Burbure and Pinchai't, it is certain that he
never was a member of the ducal chapel of
Burgundy, nor of the Cathedral of Antwerp,
as so many of the composers of that time
were. Works : Credo for 5 voices from his
mass, Village, in Petrucci's fragments of
masses by different celebrated authors
(1508). In the first book of motets by the
same collector there are 4 by Regis : Ave
Maria ; Clangat, plebs, floret ; Salve Sponsa
tui genitrix ; Lux soleranis adest. In the
3d vol. of Harmonice Musices Odhecaton
190
EEGNARD
(Venice, 1503) is the clianson franjaise
for 4 voices, S'il vous plaisist. Several of
his masses in MS. are in the Pontifical
Chapel, Eome. — Fetis ; Mendel ; Van der
Straeten, vi. 47.
EEGNARD (Regnart), FRANQOIS, born
at Douai in the first half of the 16th cen-
tui-j-. Chm-ch composer and writer of chan-
sons, brother of Jacques Regnard. He was
first attached to the Cathedral of Tournay,
and was maitre de chapelle also for a short
time about 1573 ; afterwards musician to
the Archduke Mathias. Woi'ks : Missfe
tres, quatuor et quinque voc. (Antwerp,
1583) ; Cinquante chansons a quatre et cinq
jjarties convenant tant aux instruments
qu'a la voix (Douai, 1375) ; Poesies de P.
Ronsard et autres pontes mises en musique
a quatre et cinq parties (Paris, 1579 ). — Fu-
tis ; Riemann ; Gerber ; Schilling ; Mendel.
REGNARD (Regnart), JACQUES, born at
Douai about 1531, died in Prague in 1600.
Composer, tenor, and Vize-Kapellmeister
in the imperial chaj^el at Prague under Maxi-
milian n. and Rudolph II. from 1564 to
1599. He was educated in the Jesuit Col-
lege of Douai, and began composing early,
as his works were published in 1552, in a col-
lection of Magnificats by different authors.
Twenty of his motets are in Joannelli'a
Thesaurus musicus (1568). He married
Anna Fischer, of Munich, in 1570, and Fe-
tis says he was called about that time to
Munich by Orlando Lasso to serve in the
chapel of Albert, Duke of Bavaria. Works :
Fifteen collections of chansons and masses
(1573 to 1593). The last were posthumous,
and were published by his wife. Among
the first, Fetis specifies Teutsche Lieder mit
dreyer Stimmen nach Art der Neapolitanen
(Munich, 1573) ; Neue kurzweilige teutsche
Lieder mit fiinf Stimmen zu singen und auf
allerley Instrumenten zu gebrauchen (Nu-
remberg, 1580) ; Canzoni italiane a cinque
voci, lib. i. et ii. (ib., 1581). Among the
collections of masses are : IX. Missse sacrse
(Frankfort, posthumous, 1602) ; 2d suite
(ib., 1003) ; and another posthumous pub-,
lication : Corollarium missarum sacrarum,
etc. (Munich, 1603) ; etc.— Fetis ; Biog. Gen.,
xli. 844 ; Dutihceul, Galerie douaisienne ;
Gerber ; Riemann, 749 ; Mendel ; Ergilnz.,
377 ; Van der Straeten, v. 109-115 ; Viotta,
iii. 213.
REGNAVA NEL SILENZIO. See Lucia.
REICHA, ANTON, born in Prague, Feb.
27, 1770, died iu Paris, May 28, 1836. In-
strumental composer and didactic writer,
nephew and ijupil of Joseph Reicha, at
Bonn, where he entered the Elector's or-
chestra as flutist in 1788, and enjoyed the
intercourse of young Beethoven, who played
the viola in the same orchestra. After the
dissolution of the latter in 1794, Reicha
settled at Hamburg, to teach, and there
composed a French opera, which he hoped
to bring out in Paris, in 1799. This plan
failed, but he won success as an instrumen-
tal composer, with two symphonies, played
iu the then celebrated concerts of the rue de
Clury. In 1802 he went to Vienna, where he
renewed his intimacy with Beethoven, and
entertained friendly relations with Haydn,
Albrechtsberger, and Salieri. He left Vi-
enna in 1808, at the time of the French in-
vasion, and settled in Paris, where he suc-
ceeded in producing several operas, though
without any great success, so that he de-
cided to devote himself thereafter to instru-
mental composition. He established a new
system of teaching composition which drew
many pupils, among them BoiUy, Jelensjjer-
ger, Bienaime, Millaut, Lefebvre, Elwart,
Pollet, Lecai-pentier, and Dancla. In 1818
he succeeded Mehul as professor of coun-
terpoint and fugue at the Conservatoire.
He married in Paris and was naturalized in
1829 ; Legion of Honour, 1831 ; Member of
the Institut, 1835. Works— Operas : Obal-
di, ou les Franjais en Egj'pte ; Ai'gina, regina
di Granata, Vienna ; Cagliostro, Paris, 1810 ;
Natalie, ib., 1816 ; Sapho, ib., 1822 ; 2 sym-
phonies ; overture ; Diecetto for 5 strings
and 5 wind instruments ; Octet for 4 strings
and 4 wind instruments ; 24 quintets for
flute, oboe, clarinet, horn, and bassoon ; 6
m
REICIIA
quintets and 24 quartets for strings ; Quin-
tet for clarinet and strings ; Quartet for
pianoforte, flute, violoncello, and bas-
soon ; Do. for 4 flutes ; 6 quartets for flute,
violin, viola, and violoncello ; Trio for vio-
loncellos ; 6 trios for strings ; 24 do. for
horns ; G duos for violins ; 22 do. for flutes ;
12 sonatas for pianoforte and violin ; a num-
ber of sonatas and other jjieces for ijiauo-
forte. Theoretical works : £tudes ou theo-
ries pour le pianoforte, etc. (1800) ; Traitu
de melodic, etc. (1814) ; Cours de compo-
sition musicale, etc. (1818) ; Traitu de haute
composition musicale (1824-20) ; L'ai-t du
^^-/.'
compositeur dramatique, ou cours complet
de comi)osition vocale (1833) ; Petit traite
d'harmonie pratique. — Futis ; do., Supple-
ment, ii. 398 ; Diet. delaConv., xv. 327 ; La-
rousse, xiii. 873 ; Wurzbach ; Riemann ;
Schilling ; Gerber ; Mendel ; do., Ergiinz.,
377.
REICHA, JOSEPH, born in Prague in
174G, died at Bonn in 1795. Violoncellist
and instrumental composer. After several
years in the service of the Count von Wal-
lerstein, he was appointed in 1787, by the
Elector of Cologne, Conzertmeister and
conductor of the orchestra, at the National
Theatre at Bonn. Works : 3 concertos for
violoncello and orchestra ; 3 symphonies
for 10 instruments ; 2 synq)honics concer-
tantes for violin and violoncello ; S^'mphonie
concertante for 2 horns ; G duos concertants
for violin and violoncello ; Symphonic con-
certante for 2 violins, or violin and violon-
cello ; 3 duos for violin and violoncello.
— Meudel ; Eiemann ; Fetis.
KEICHAEDT, GUSTAV, born at Schmar-
sow, near Demmin, Pomerania, Nov. 13,
1797, died in Berlin, October 19, 1884. Vo-
cal composer, pupil of Bernhard Klein ;
settled in Berlin to teach music, and was
for several years conductor of the Lieder-
tafel. He composed only thii-ty-six works,
mostly songs, among which " Was ist des
Deutschen Vaterland ? " has made his name
widely popular. — Mendel.
REICHAEDT, JOHANN FRIEDRICH,
born at Konigs-
berg, Prussia,
Nov. 25, 1752,
died at Giebich-
enstein, near
Halle, June 17,
1814. Dramatic
composer, pujiil
of Carl GottUeb
Richter on the
pianoforte and in
composition, and of Veichtuer on the vio-
Hn. He studied in 17G9-70 at Kiinigsberg
University, and in 1771 at Leipsic University ;
then travelled over Germany, and embodied
his observations in a book. On hearing of
the death of court Kapellmeister Agricola,
he applied to Frederick the Great for the
place, and received it in 177G. In 1783 he
founded the Concerts Spirituels for the
performance of novelties with short analj'-
litical jjrogi-ammes, but his position hardly
allowed him to produce his own works as
much as he would have liked. In 1782 he
made a brief trip to Italy, and in 1785 he
availed himself of a leave of absence to visit
London and Paris, obtaining in the French
capital an order for the composition of two
operas, and went to Paris again in 1786 to
prepare for their performance ; but the news
of Frederick the Great's death recalled him
to Berlin to wi'itc the customarj' funeral
cantata. Under Friedrich Wilhelm H. his
orchestra was enlarged and he secured new
singers from Italy, but his enemies informed
the king of his sympathies with the French
Revolution and so prejudiced the monarch,
that his position became untenable. First
he received a three years' leave of absence
with full pay, and in 1794 was dismissed,
and settled in Altona. In 1797 he was ap-
pointed inspector of salt works at Halle,
and after the king's death he appeared
again in Berlin as a composer. He visited
Paris also several times. The French inva-
193
REICIIEL
sion of Germany drove him from home in
180G, but the fear of losing his fortune
eaiiseJ him to return, and Jerome Napoleon
api^ointed him Kapellmeister at Cassel.
He could not long retain this place, and was
given leave to visit Vienna. As he did not
succeed to his satisfaction, he went back to
his estate near Giebichensteiu, and remained
there until his death. It seems to have been
difficult for him to live in harmony with his
associates. His writings show that he was
more of a literary musician than a learned
one. While culture, melody, and dramatic
feeling are found in his compositions, they
lack the fertility of invention which belongs
to genius. He was one of Mendelssohn's
favorite composers ; his Singspiele are im-
portant factors in the develoj)ment of Ger-
man oj)era, and his Lieder are interesting
as being among the earliest of their kind,
so that he must always hold a considerable
place in musical history. Works — Operas :
Hilnschcn uud Gretchen, KOuigsberg, 1772 ;
Amor's Guckkasten, Riga, 1773 ; La gioja
dopo il duolo, o le feste superbe, Berlin,
177G ; Andromeda, ib., 1788 ; first act of
Protesilao, 1789 ; Brenno, 1789; Olimjjiade,
1791 ; Tamerlan,and Panth(Je,French ojieras,
not performed ; Rosamunda, Italian opera,
1801; Das Zauberschloss, 1802; Bradamante,
Vienna, 1808 ; L'heui-eus naufrage, 1808 ;
4 Singspiele to Goethe's Claudina von Villa-
bella, Jery und Biltely, Erwin und Elmire,
and Lilla ; Die Geisterinsel, SingS23iel after
Shakespeare's Tempest ; Other operas and
Singspiele ; Oratorios and cantatas ; Music
to Biirger's translation of Macbeth, Goethe's
Faust, Egmont, Tasso, and to other dramas ;
Many songs, including Goethe's lyrical
poems ; Ouvertura di Vittoria and Schlacht-
symphonie in honor of the battle of Leipsic ;
(5 other symphonies : Concertante for string
quartet, and orchestra ; 14 concertos for
pianoforte ; 17 sonatas for do.; 11 do. for
violin ; concerto for do. ; 6 trios for strings ;
2 quartets for pianoforte and strings ; Quin-
tet for pianoforte, 2 flutes, and 2 horns ;
Sonata for flute, etc. He edited several mu-
sical periodicals, and, besides lesser literary
works, wrote : Briefe eines aufmerksamen
Reisenden die Musik betreffend (Frankfort
and Leipsic, 1774) ; Ueber die deutsche
komische Oper (Hamburg. 1774) ; Vertraute
Briefe aus Paris (ib., 1804-5) ; Vertraute
Briefe, geschrieben auf einer Reise nach
Wien (Amsterdam, 1810). — Autobiography
in Berhn Musikalische Zeitung (1805) ;
Ft'tis ; Mendel ; Riemann ; Schlettcrer, J.
F. Reichardt, sein Leben (Augsburg, 18G5) ;
Gerber; Schilling; do., Supplement, 357;
Lindner, Geschichte des deutschen Liedes,
132.
REICHEL, ADOLF (HEES'RICH JO-
HANN), born at Tursznitz, West Prussia,
in 181G, still living, 1890. Vocal and in-
strumental composer, pupil at Elbing, of
Cantor Brandt, and later, in Berhn, of Dehn
and Louis Berger in composition. After
travelling in Germany and Switzerland, he
settled in Paris, where he taught music
fourteen years. In 1857 he was appointed
instructor of composition at the Conserva-
torium in Dresden, and director of Dreis-
sig's Singakademie, and in 18G7 went to
Berne, as director of the city music.
Works : Mass ; Trio for pianoforte, violin,
and violoncello ; 4 preludes and fugues for
pianoforte ; Sonatas and mazurkas for do.;
Choruses ; Songs. — Fetis ; Mendel.
REICHEL, FRIEDRICH (CARL), born
at Oberoderwitz, near Zittau, Jan. 27, 1833,
still living, 1890. Instrumental composer,
pupil in Dresden of F. Wieck on the piano-
forte, and of Julius Otto and Rietz in
theory. At the age of twelve he took part
in the church music of his native town,
playing the organ, the violin, the flute, the
horn, and the trombone, or singing. About
1852 he settled in Dresden as instructor of
music, and in 18G0 became director of the
Liedertafel there, in 18G9 leader of the
Neustadter Chorgesangverein, and in 1870
EEicn
director of the Amateur Orchestra Society.
Works : Die geangstigten Diplomaten, ope-
retta, given at the Dresden Court Theatre,
1875 ; Symphonies ; Octet for wind instru-
ments ; Quartets for strings ; Gesang der
wandernden Musensohne, for chorus and
orchestra ; Festival song, for do. ; 4 cho-
ruses for men's voices ; 4 terzets for female
voices ; 5 songs for mixed chorus ; Piano-
forte music ; Songs. — Mendel.
REICH MIR DIE HAND, seven varia-
tions for two oboes and an English horn,
in C, by Beethoven, on the theme, Reich
mir die Hand (Lt'i ci darem la mauo), from
Don Giovanni. The original autograph, in
the possession of Artaria & Co., was pub-
lished (Vienna, 1800).
REIF, WILHELM, born at Schwallung-
en, in 1833, still living, 1890. Clarinet
player, music director of the court orches-
tra at Meiuingen ; has composed several
operas, among which Abu Said was espe-
cially successful, and symjjhonies, overtures,
suite for orchestra, festival marches, Con-
zertstilcke for solo instruments, pianoforte
pieces, etc.
REDUNN, IGNAZ, born at Albendorf,
Silesia, Dec. 27, 1820, died at Rengersdorf,
ib., June 17, 1885. Church composer, pu-
pil at the Seminary at Breslau. Works :
7-1 masses ; 24 Requiems ; 4 oratorios ; 4
Te Deums ; 37 Htanies ; 83 offertories ; 50
gradiials, cantatas, etc. ; 9 overtures, and
other works for orchestra. — Riemann.
REINAGLE, JOSEF, born, of German
parentage, at Portsmouth, England, in
1762, died at Oxford, in 1836. Violoncel-
list, entered the king's service as a hoi-n
player, but afterwards took up the violon-
cello, and became director of concerts at
Edinburgh. In 1789 he went to Ireland,
1)ut returned to London and finally lived
at Oxford. Woi-ks: 30 progressive duets
for 2 violoncellos ; Quartets for strings ;
24 lessons for harpsichord ; Method for
violoncello. His brother Hugo (born at
Portsmouth, 1766, died young at Lisbon)
was a virtuoso on the violoncello, pupil of
Crosdil. He composed solos and duos for
his instrument.
REINECKE, KARL (HEINRICH CAR-
STEN),bornatAltona,
June 23, 1824, still
living, 1890. Pianist,
pupil of his father, an
able theorist ; made
his first concert tour,
in 1834, to Denmark
and Sweden, and after
perfecting himself at
Leii^sic, where Men-
delssohn and Schu-
mann then highly influenced the musical
world, played again iu the northern cities
of Germany, and at Copenhagen, where in
1846-48 he was court pianist to Christian
Vni. ; then lived for some time in Paris.
In 1851 he became instructor at the Con-
servatorium of Cologne, was music director
at Barmen in 1854-59, at Breslau in 1859-
60, when he was appointed Kapellmeister
of the Gewandhaus at Leipsic, and professor
at the Conservatorium. He still continues
to appear as a virtuoso, playing with suc-
cess in London and other cities, and on his
annual tours to Scandinavia, England, Hol-
land, and Switzerland always meets with an
enthusiastic reception. As an interpreter of
Mozart he has few rivals. Among his pupils
in composition are Bruch, Grammann, Grieg,
Klauwell, Sullivan, Svendsen, etc. ; among
those on the pianoforte, Josefly, Louis Maas,
Kwast, etc. He is at present undoubtedly
the most prominent musical figure of Leip-
sic. Works — Operas : Konig Manfred, five
acts, given at W^iesbaden, 1867, Leipsic,
1885 ; Der vierjilhrige Posten, not given ; Aiif
hohen Befehl, Hamburg, 1886 ; Ein Aben-
teuer Hiindels, Schwerin, 1874. Belsazar,
oratorio; 2 masses ; Music to Schiller's Wil-
helm Tell ; Ilakoit Jarl, for male chorus,
soli, and orchestra ; Die Flucht nach Agyp-
ten, do. ; Sommerbilder, do. (1885) ; Schnee-
uiUchen, for female chorus, soli, and piano-
forte ; AschenbrOdel, do. ; DornrOschen,
do. ; Die wilden Schwiine, do. ; 20 canons
194
REINECKE
for 3 female voices, -with pianoforte ; 2 sym-
phonies. Overtures : Dame Kobold ; Ala-
din ; Friedensfeier ; Fest-Ouvertilre, op.
148 ; Zeuobia ; In memoriam, introduction
and fugue with choral for orchestra ; Fu-
neral march for Emperor Wilhelm I., op.
200 ; Concerto for violin ; do. for violon-
cello ; do. for hai-p ; 3 quartets for strings ;
4 concertos for pianoforte and strings ; Quin-
tet for do. ; Quartet for do. ; G trios for do. ;
2 sonatas for violoncello ; 4 do. for violin ;
Phantasie for pianoforte and violin ; Undine,
sonata for flute and pianoforte ; Sonatas,
fantasias, caprices, etc., for pianoforte ; Sev-
eral collections of songs ; Choruses for
male, and mixed voices, etc. — Mendel; Eie-
mann.
EEINECKE (Eeinicke), KARL LEO-
POLD, born at Dessau, in 1774, died at
Quedlinburg, Oct. 22, 1820. Dramatic
composer, first instructed on several instru-
ments by his father, court musician at An-
halt-Dessau, later pupil of Eust on the vio-
lin, and in 179G-98, in Dresden, of Nau-
mann in composition. In 1798 he was aj)-
pointed Conzertmeister and music director
at Dessau. Works — Operas : Adelaide von
Scharfeneck ; Feodora ; Peronka und Al-
fred, given at Dessau. Symphonies ; In-
strumental pieces ; Songs. — Fetis ; Mendel.
EEENE DE CHYPEE, LA (The Queen
of Cyprus), opera in five acts, text by Saint-
Georges, music by Halevy, first represented
at the Acadomie Eoyale de Musique, Paris,
Dec. 22, 1841. The time of the action is
14G9. A Venetian patrician, who has prom-
ised his daughter, Catarina Cornaro, to a
French nobleman, Gerard de Courcy, is
informed by Mocenigo that the Council of
Ten orders her to be given in marriage to
Lusignan, King of Cyprus. He yields only
on threat of death, and Catarina is forced
to renounce her lover. The third act is
placed in Cyprus, where Gerard is discov-
ered, attacked, and saved by one who is un-
known to him. He still resolves to kill
Lusignan, and during a fete is about to take
his life when he recognizes him as his de-
liverer, and Lusignan again protects him.
After several years, during which Catarina
has become reconciled to her fate and Ge-
rard has been made Chevalier of Ehodes,
the latter discovers a plot against Lusignan
and tells Catarina of it. Mocenigo appears
at this moment, and says he will fasten the
crime upon them. Lusignan, who over-
hears this threat, orders Mocenigo to prison,
but the latter has had time to give signal
for the Venetians to attack the city. Dur-
ing the conflict Lusignan is seconded by
Gerard, but is wounded, and dies in Cata-
riua's arms. She brings out her son to her
subjects, who proclaim him their sovereign,
and Gerard returns to Rhodes. Original
cast :
Catarina Mme Stoltz.
Gerard M. Dnprez.
Lusignan M. Baroilhet.
Mocenigo M. Massol.
This opera was first given in Leijisic, Sept.
19, 1842. Published by Lemoine (Paris,
1842) ; by Schlesinger, German translation
by Griinbaum (Berlin, 1842). Pianoforte
score by Wagner (Paris, 1841). See Cata-
rina Cornaro. — Clement et Larousse, 567 ;
Lajarte, ii. 1G9 ; Allgem. mus. Zeitg., xliv.
705 ; Neue Zeitschr., xvii. IIG.
EEINE DE FEANCE, LA (The Queen of
France), symjDhony in G minor, by Haydn,
supjjosed to have been written in 178G. I.
Adagio, Vivace ; II. Eomanze, allegretto ;
III. Menuetto, allegretto ; IV. Finale,
piresto. Published by Simrock.
EEINE DE SABA, LA (The Queen of
Sheba), French opera in four acts, text by
Jules Barbier and Michel Carre, music by
Gounod, first rejDresented at the Opera,
Paris, Feb. 28, 1862. The Queen of Sheba,
Balkis, visits Solomon, and falls in love with
195
REINER
an artisan, Adoniram, with whom she runs
away. The last act takes place in the ravine
of Cedron, where Adoniram is assassinated
by three other artisans, whose demands for
salary he had ignored. The work ends
with the Queen's distress, she believing the
murder to have been instigated by Solomon
for revenge. Original cast :
La reine (Balkis) Mmc Gueymard.
Adoniram J\I. Gueymard.
Soliman M. Belval.
Phanor M. Marie.
Benoni lllle Hamackers.
An English version, entitled Irene, by H.
Famie, was given as a concert at the Crystal
Mme Gueymard.
Palace, Aug, 12, 1865. Published by Chou-
dens (Paris, 18G2) ; Schott (Mainz) ; Eng-
lish edition by Cramer & Co. (London).
Transcription for the pianoforte by Liszt.
— CU'ment et Larousse, 5G8 ; Athenaeum
(18G5), ii. 253.
REINER, AMBROSIUS, church com-
poser of the 17th century, about the middle
of which he lived in Prague, then at Inns-
bruck, as composer and Kapellmeister to
the Archduke Ferdinand Karl of Austria.
Woi-ks : Motets for 2-4 voices, with
vioUns (Munich, 1645) ; Motets for 4-6
voices, with 2 violins (ib., 1648) ; Motets for
8 voices (ib., 1654) ; Psalms for 8 voices
(ib., 1G54) ; Mass for 5 voices and 3 instru-
ments (Innsbruck, 1655). — Fetis ; Mendel.
REINER, JAKOB, born about 1560 at
Altdorf, "Wiirtemberg, died in the Convent
of Weingarten, Aug. 12, 1606. Church
composer, first instructed in the Convent
school at Weingarten, then, in Munich,
pupil of Orlando Lasso. Ho was ap-
pointed vocal instructor, and later choir-
master of the Convent of Weingarten. —
Works : Liber cantionum sacrarum, 22 mo-
tets for 5-6 voices (1579, new ed. by O.
Dressier, 1872) ; Schone neue deutscho
Lieder, 32 songs for 4-5 voices (1581) ;
Christliche Gesang, teutsche Psalmen, 15
psalms for 3 voices (1589) ; Selectse pireque
cantiones, 20 motets for 6 voices (1591) ;
Cantica sive mutctfc, 29 songs for 4-5 voices
(1595) ; Liber motettarum, 32 motets for
6-8 voices (1600) ; Liber motettarum, 18
motets for 6 voices (1603) ; Sacrarum
missamm, for 5-6 voices (1G04) ; Glorio-
sissimfc Virginis Magnificat, for 8-12 voices
(1604) ; Miss.T) tres cum litaniis for 8
voices (1G04) ; Miss«3 aliquot sacrre cum
officio B. M. V. et Antiphonis, for 3-4
voices (1608) ; Many songs in MS.— Fi'tis ;
Mendel ; Riemann ; IMonatshefto fiir Mu-
sik-Geschichte, iii. 97.
REINE TOPAZE, LA (Queen Topaz),
opera-comique in three acts, text by Lock-
roy and Leon Battu, music by Victor Jlasse,
first reijresented at the Theatre Lyrique,
Paris, Dec. 27, 1856. Topaze is a young
girl, who in infancy was stolen from her
parents, and becomes queen of a band of
gypsies. She loves the captain, Rafael,
whom she wins from his betrothed, a
wealthy noblewoman. He falls in love with
Topaze, but hesitates to marry her until
the secret of her birth is revealed to him
by the gypsies. The success of this opera,
one of the composer's best, was greatly
owing to the brilliant execixtion of Mme
Miolan-Carvalho, whose name is inseparably
196
KEINIIOLD
conrioctefl with the work. Tlie Carnaval
de Venise, with Pagaiiiui's variations, which
In ff^- -^^
Euphrosyne Parepa-Rosa.
is interpolated in the second act, was sung
by her with gi'cat facihty find precision.
Original cast :
La reinc Topaze . . . Mme Miolan-Carvalho.
Lc cajiitaino It.ifacl M. Montjauzc.
Annibal M. Meillet.
Francai3pa ]M. Balanque.
Fritellino M. Froment.
Filomolo Mile Pannetrat.
This ojiera was given a,t Her Majesty's,
London, with ]\Ille Parepa in the title-role,
Dec. 24, 18G0. Published by Schott
(Mainz, 1857). — Clement et Larousse, 569 ;
Eevue et Gaz. mus. de Paris (1857), 2 ;
Athenffium (1860), ii. 301 ; Neue Zeitsch.
(1859), i. 32.
EEINHOLD, HUGO, born in Vienna,
March 3, 1854, still living, 1890. Instru-
mental composer, pupil at the Vienna
Conservatorium, of Bruckner, Epstein, and
Dessoff in 1868-74, and received a silver
medal. His compositions are very prom-
ising. Works : Prelude, minuet, and fugue
for orchestra ; Suite for pianoforte, and
strings ; String quartet ; Im Walde, and
Fantasie-Bilder, for pianoforte (4 hands) ;
Other pianoforte f)ieces, and songs. — Fetis,
Supplement, ii. 399 ; Riemann.
REINKEN (Eeinke, Eeinicke), JOHANN
ADAM, born at _ ,,. ,
D e V e n t e r, Hol-
land, April 27,
162 3, died in
Hamburg, Nov.
24, 1722. Organ-
ist, pupil of Jan ,,
Pieter Sweelinck
in Amsterdam ;
became in 1654
organist of t h e ^' *» ^
church of St. Catherine, in Hamburg. So
great was his reputation that Johanu Sebas-
tian Bach walked twice at least from Lune-
burg to Hamburg to hear him. On the latter
occasion Bach in turn played for the aged
organist, who exclaimed "I thought that
this art was dead, but I see that it still lives
in you." Works : Hortus Musicus for two
violins, viola, and bass (Hamburg, 1704) ;
Toccata for organ ; 2 arrangements of
chor.als ; 2 variations for clavier. — Mendel ;
F6tis ; Schilling ; Mattheson, Ehren-Pforte,
292.
EEINTHALEE, KAEL (MAETIN), born
at Erfurt, Oct. 13,
1822, still living,
1890. Pupil of G.
A. Eitter and A. B.
Marx ; visited Paris,
where he studied
singing under Ge-
raldi and Bordogni,
then spent some
time at Naples, Mi-
lan, and Eome. He became instructor of
singing at the Cologne Conservatorium, in
1853 ; was appointed city music director,
organist of the Cathedral, and director of
the Singakademie at Bremen in 1858, and
later conductor of the Liedertafel there.
He is royal Prussian music director, and
since 1882 member of the Berlin Academy.
197
REISS
Works — Operas : Edda, Bremen, 1875 ;
KiitLcben von Heilbronn, Frankfort, 1881.
Jephtha and bis daughter, oratorio ; In
der Wiiste, for chorus and orchestra ;
Das Miidchen von Kolab, do. ; Symphony ;
Psalms ; Choruses ; Songs. — Mendel ; Rie-
mann ; Fotis ; do., Supplement, ii. 400.
REISS, CARL HEINRICH ADOLF,
born in Frankfort-ou-the-Main, in 1829,
still living, 1890. Pianist, pupil, in Frank-
fort, of Rosenhain on the pianoforte, of
Ferdinand Kessler in harmony, and later,
in Leipsic, pupil of Moritz Hauptmann. At
the age of fourteen, he appeared with suc-
cess in a concert in Frankfort, and when not
yet twenty years old, was appointed chorus-
master in the Stadttheater of Mainz. He
was music director successively at the thea-
tres of Berne, Basel, and Wiirzburg, and
in 1854 returned to Mainz as first Kapell-
meister of the Stadttheater. In 1856 he
was called to the Court theatre at Cassel,
where later he succeeded Spohr as Hof-
Kapellmeister ; in 1881-86 he filled the
same position at "Wiesbaden. Works : Otto
der Schiitz, opera, given in Cassel and
Mainz ; Pianoforte music ; Songs. — Fctis ;
Mendel ; Riomann.
REISSIGER, FRIEDRICH AUGUST,
bora at Belzig, Prussia, July 26, 1809, died
at Frederikshald, Norway, March 2, 1883.
Brother of the following, first instructed
by his father, then pupil of Schicht and
Weinlig at the Thomasschule in Leipsic,
and of Dehu in Berlin. He was music
director at the theatre in Christiania in
1840-50, and thence went to Frederikshald,
as organist and miUtary Kapelmester.
Works : Music to Tie Saters, and to Ogte-
mandens Reprsesentant ; Several masses ;
Requiem ; Cantatas ; Concert overtures ;
Pianoforte music ; Many songs, and chor-
uses for male voices. — Mendel.
REISSIGER, KARL GOTTLIEB, born
at Belzig, Jan. 31, 1798, died in Dresden,
Nov. 7, 1859. Dramatic composer, pupil
in 1811 of Schicht at the Thomasschule,
Leipsic. In 1818 he began the study of
theology, but soon gave himself up to mu-
sic ; pursuing his studies in Vienna, in
18 21, he appeared
the following year as
a singer and pian-
ist. He then visited
Munich, where he
became the pujjil of
Winter, went to Ber-
lin in 1823, and trav-
e 1 1 e d in Holland,
France, and Italy in
1824-25, to inform himself about the musi-
cal institutions of those countries, by order
of the Prussian government. He was then
for a short time instructor at the royal in-
stitute for church music, and in October,
1826, was summoned to The Hague, to or-
ganize the Conservatorium, which is still
flourishing. In the same year he succeeded
Marschner as music director of the Ger-
man Opera in Dresden, and soon after was
appointed Hof-Kapellmeister to succeed
Weber. Works — Operas : Das Rockenweib-
chen (1821, not given) ; Didone abban-
donata, Dresden, 1823 ; Der Ahneuschatz
(1824, do.) ; Yelva, melodrama, Dresden,
1827 ; Libella, ib., 1828 ; Die Felsenmiihle
von Etalieres, ib., 1829 ; Turandot, ib.,
1835 ; Adole de Foix, ib., 1841 ; Der Schiff-
brueh der Medusa, ib., 1846 ; Overture and
entr'actes to the tragedy Nero, Munich,
1822. David, oratorio ; 10 masses ; Hymns,
j)salms, motets, vespers, etc. ; Symphony for
orchestra ; Overture for do. ; Concerto for
flute ; Concertino for clarinet ; Quintet for
pianoforte and strings ; 6 quartets for do. ;
27 trios for do. ; Quintet for strings ; 8
quartets for do. ; 2 sonatas for violin and
pianoforte ; Sonata for clarinet ; Sonatas
(4 and 2 hands), rondos, variations, and
other music for pianoforte ; Many songs,
some of which have become veiy popular.
— Ftitis ; Mendel ; Riemann ; Schilling ;
Schumann, Ges. Sehriften, ii. 292.
REISSHLiNN, AUGUST, born at Fi-an-
kenstein, Silesia, Nov. 14, 1825, still living,
1890. Dramatic composer, and writer on
19S
EEITER
music, pupil in his native place of Heinrich
Jung, and in Breslau of Mosewius and
Baumgart in theory, of Ernst Richter on
the pianoforte and organ, of Liistner on the
violin, and of Kahl on the violoncello.
The favourable reception given his com-
positions sti-engthened his purpose to be-
come a composer, but a residence in 1850-
52 in Weimar, vphere the new school of mu-
sic had its most ardent chamjiions, turned
him more to literary work. After living
several years at Halle, he settled in 1863 in
Berlin, where he lectured in 18GG-74: on
musical history at the Couservatorium ; and
afterwards took up his residence in Leip-
sic. He was a prominent contributor to
Mendel's Musikalisches Conversations-Lexi-
kon, and after his death continued and
completed it. In 1875 the degree of Ph. D.
was conferred upon him by Leijjsic Uni-
versity. His compositions have not at-
tracted great attention, and his literary
works are sometimes injured by liis fond-
ness for putting all music into a system,
but his industry and good use of his op-
portunities have made him of considerable
authority in the musical world of Germany.
Works — Operas : Gudi'un, Leipsic, 1871 ;
Das Gralspiel (not given) ; Die Biirger-
meisteiin von Schorndorf, Leipsic, 1880.
Two dramatic scenes, Drusus Tod and Lo-
reley ; Wittekind, oratorio ; 2 sonatas for
pianoforte and violin ; Concerto for violin
and orchestra ; Suite for do. ; Many songs
and ballads, duets, terzettos, and choruses.
Writings : Von Bach bis Wagner (Berlin,
18G1) ; Das deutsche Lied in seiner his-
torischen Entwickelung (1861), rewritten
as Geschichte des deutschen Liedes (1874),
his most important work ; Allgemeine Ge-
schichte der Musik (1863-65, 3 vols.) ; Allge-
meine Musiklehre (1861, 2d ed., 1874) ;
Grundriss der Musikgeschichte (1865) ;
Robert Schumann (1865, 3d ed., 1879) ;
Lehrbuch der musikalischen Komposition
(1866-71, 3 vols.) ; Felix Mendelssohn-Bar-
tholdy (1867, 2d ed., 1872) ; Franz Schu-
bert (1872) ; Die konigliche Hochschule
fiir Musik in Berlin (1875) ; Leichtfassliche
Musikgeschichte (1877) ; Zur Aesthetik der
Tonkunst (1879) ; Joseph Haydn (1879) ;
Illustrirte Geschichte der deutschen Musik
(1880) ; J. S. Bach, and G. F. Hiindel (1881) ;
Gluck, and Weber (1882) ; and other works.
— Mendel ; Riemann ; Fctis, Supplement,
ii. 101.
REITER, ERNST, born at Wertheim,
Baden, in 1811, died at Basel, July 14,
1875. Violinist, professor at the Conserva-
torium at Wiirzburg, where he apj)eared
also in concerts in 1835-37. In 1839 he
went as music director to Strasburg, and
in 1841 to Basel. In 1843 he conducted
the music festival at Lucerne. Works : Die
Fee von Elverhoe, Wiesbaden, 1865 ; Das
neue Paradies, oratorio, Basel, 1845, Vienna,
1847 ; 2 quartets for strings ; Songs.
REJOICE GREATLY, soprano aria in
B-flat major, with accompaniment of violins
in unison, and coutiuuo, in Handel's 3Ies-
mih. Part I., No. 16.
RELLSTAB, JOHANN KARL FRIED-
RICH, born in Berlin, Feb. 27, 1759, died
at Charlottenburg, Aug. 19, 1813. Com-
poser and writer, pupil of Agricola and
Fasch. His father's death compelled him
to take charge of a printing establishment
in Berlin, to the business of which he added
music printing and selling, and in 1785
opened a circulating music library. In
1787 he founded a concert for amateurs,
and the concerts given by the Singakademie
and others were often held at his house and
expense. The war of 1806 caused the loss
of almost his whole fortune, but his love of
music revived on the return of peace. He
wrote musical criticisms for the Vossische
Zeitung, lectured on harmony, inspired
wealthier men to give private concerts, and
instructed his children musically. In 1811
he visited Italy and Vienna. His composi-
tions are little more than mechanical, but
his books give evidence of critical observa-
tion. Works : Die Apotheke, opera ; Die
Hirten an der Krippe zu Bethlehem, can-
tata ; Pygmalion, do. ; Ode ; Passion ora-
199
EEMBT
torio ; Mass ; Te Deum ; Marches, waltzes,
sonatinas, and other music. He published
Versuch iiber die Vereinigung der musi-
kalischeu und oratorischen Deklamation (Vi-
enna, 1785) ; Ueber die Bemerkungen eines
Reisendeu (Berlin, 1789), a reply to a work
by Reichardt ; Anleitung f iir Klavierspieler,
den Gebrauch der Bach'scheu Fingerset-
zung, die Manieren und den Vortrag be-
treffend (ib., 1790).— Fotis ; Gerber ; Men-
del ; Kiemann ; Schilling.
EEMBT, JOHLV^vN ERNST, born at
Suhl, Prussian Saxony, in 1749, died there,
Feb. 2G, 1810. Organist, formed himself
by the study of Bach's works, of which he
was an eminent interpreter. Ho was organ-
ist in his native city from 1772, and left it
only once in his life, to visit Leiiisic in
1797. Works : G trios for organ (1787) ; 6
do. ; 50 four-part fughettas for do. ; Cho-
rals, fugues, preludes, etc., for do. — Fetis.
REMDE, JOHANN CHRISTIAN HEIN-
RICH, born at Berka-ou-the-Ilm, Saxe-
Weimar, iu 1790, died at Weimar (?) after
1840. Dramatic comiioser, first instructed
by his father, then pupil of Tiirk at Halle.
He taught music in Berlin, then lived at
Leipsic and at Memmingen, Suabia, and
settled at Weiruar, where he attracted Goe-
the's attention, and was appointed music
director of the court theatre, and professor
at the pages' school. Works — Operas : Die
lustigen Studenten ; Der Zaubersee, given
at Weimai-, 1836 ; Die entwaffnete Rache ;
Pygmalion, melodrama. Der Wandel des
Irrthuuis, cantata. Pianoforte music, part-
songs, ballads, and songs. — Fetis.
REMfiNYI, EDUAED, born at Heves,
Hungary, iu 1830 ; reported drowned off
^Madagascar iu 1887, but living at Cape
Town, South Africa, in 1890. Virtuoso
on the violiu, pupil in 1842-45, at the Vi-
enna Conservatorium, of BOhm. He took
an active part in the insurrection of 1848,
and was adjutant to the famous general
GOrgey ; when the revolution was crushed
he left his countiy and travelled in the
United States in 1849-50, giving many
successful concerts. In 1853 he went to
Weimar to study under Liszt, and in 1854
to London as solo
violinist to the
Queen,
obtained
nesty in
returned
Having
an am-
18G0, he
to Hun-
gai-y, and was made
solo violinist to
the Emperor of
Austria. In 18G5
he appeared successfully in Paris ; then vis-
ited Germany, Holland, and Belgium, and
in 1875 settled temporarily in Paris. He
went to London again in 1877, to America
in 1878, travelled extensively in the United
States, Canada, and Mexico, and stai-ted on
a new concert tour around the world in
188G. Among his works are a concerto for
violin and orchestra ; most of his other
compositions consist of aiTangements which
he has made for his own jjlayiug, chiefly
of Hungarian airs, and of Field's, Chopin's,
Schubert's, Bach's, Rameau's, and Mozart's
music, which he has i^ublished as Nouvelle
£cole de violon (Paris). — Fetis, Supple-
ment, ii. 402 ; Wui'zbach ; HansUck, Con-
certweseu in Wien, ii. 2G7.
RfiMUZAT, JEAN, born at Bordeaux
(Gironde), May 11, 1815, died in Shanghai,
Sept. 1, 1880. Virtuoso on the flute, jDupil
of Tulou at the Conservatoire, Paris, where
he won the first i^rize iu 1832 ; appeared
successfully in many concerts, then settled
in London, where he became first flutist at
the Queen's Theatre ; in 1853 he returned to
Paris, and was engaged in the same capa-
city at the Theatre Lyrique. He composed
concertinos, fautaisies, airs varic's, and mor-
ceaux de salon for his instrument. — Fetis.
RENAUD, tragedie-lyrique in three acts,
text by Lebceuf, music by Sacchini, first
represented at the Academie Royale de Mu-
sique, Paris, Feb. 28, 1783. This opera
was a re-arrangement of Sacchini's Armida
e Rinaldo, first given in Milan iu 1722.
The French version was given in Paris,
SCO
RENAUD
through the influence of Marie Antoinette,
with Mme Saint-Huberty as Ai-mide. It is
Antoinette C^cile Saint-Huberty.
one of the best of the many settings of the
subject. See also Armidc et Kenaud. — Cle-
ment et Larousse, 570 ; Lajarte, i. 333.
EENAUD D'AST, comeilie in two acts,
in prose, text by Radet and Barre, music
by Dalayrac, first re2:)reseuted at the Italions,
Paris, July 19, 1787. The libretto is an
imitation of La Fontaine's "L'oraison de
Saint-Julien," taken originally from Boccac-
cio. The music was popular, and the airs
were long sung in the Paris vaudevilles.
Same title, French ojiera in two acts, text
by Lemonnier, music by Trial and Vachon,
previously given in Paris, Oct. 22, 1765.
Italian comic oj)eras on this subject : Eiu-
aldo d' Asti, by Marcos Portugal, Venice,
1793 ; by Niccolo Isouard, Malta, 1796 ; by
Francesco Morlacchi, Parma, 1809 ; and by
Carlo Coccia, Rome, 1816.
RENDEZ-VOUS BOURGEOIS, LES,
opera-bouifou in one act, text by Hoffman,
music by Niccolo Isouard, first represented
at the Opera Comique, Paris, May 9, 1807.
The libretto is the most amusing of Hoff-
man's works for the stage, and the music
is gay and thoroughly French in chai'acter.
It was given in Berlin as Das SteUdicheiu,
Oder Alle fiirchten sich, in 1831 ; in Vi-
enna, Aug. 18, 1826.— Clement et Larousse,
571.
R£ PASTORE, IL (The Shepherd King),
dramatic cantata in two acts, text by Metas-
tasio, music by Mozart, first represented at
Salzburg, April 23, 1775. The libretto was
written in 1751, set to music by Bono, and
given in Vienna in that year. Mozart was
ordered to compose music to this text in
March, 1775, for the entertainment of the
Archduke Maximilian, son of the Empress
Maria Theresa, who was expected to visit
Salzburg the following month. The so-
prano Cousoli, from Munich, sang the prin-
cipal 2:)art, and Mozart composed a new bra-
vura air for her. Characters represented :
Alessandro, King of Macedonia ; Amiuta,
shepherd descendant of the Kings of Sidon,
and lover of Elisa ; Elisa, shepherdess ; Ta-
miri, fugitive princess, daughter of the tyrant
Stratone, loved by Agenor ; and Agenor,
noble of Sidon, lover of Tamiri, and friend
of Alessandro. Alessandro, having taken
Sidon, puts to death the tyrant and usurper
Stratone, and places on the throne the
rightful king, Aminta, who has been liv-
ing as a shepherd. Alessandro wishes to
marry him to Tamiri, daughter of Stratone,
who loves Agenor, and Aminta, rather than
give up the love of Elisa, a shepherdess, re-
turns the crown to Alessandro. The latter
is so delighted with his fidelity that he
unites him with Elisa, and establishes them
upon the throne. He also gives Tamiri to
Agenor, and promises him the next king-
dom he may conquer. Amiuta's aria, " Aer
tranquiUo," was sung by Mile Weber in
Mannheim in 1778. Another aria of Amin-
ta's, " L' amero," was a favourite with Jenny
Lind. The original autograph, in the
KOnigliche Bibliothek, Berlin, was {jub-
lished by Breitkopf & Hilrtel, Mozart
Werke, Serie v.. No. 10. — KOchel, Verzeich-
niss. No. 208 ; Andre, do., No. 37 ; Jahn,
Mozart, i. 399 ; Gehriug, Mozart, 54.
Rfe PASTORE, IL, Italian opera in three
acts, text by Metastasio, music by Giuseppe
201
EEQUIEM
Sarti, first represented in Venice in 1753.
This opera bad an immense success, and
quickly sjiread the fame of its composer.
Other Italian operas on Metastasio's text, by
Giuseppe Bono, SchOnbrunn, near Vienna,
1751 ; by Johaun Agricola, Berlin, 1752 ;
by Johann Adam Hasse, Hubertusberg,
near Dresden, Oct. 7, 1755 ; by Nicolo
Jommclli, Stuttgart, 1757 ; by Zonca, Mu-
nich, 17(50 ; by Piccinni, Naples, 17C0 ; by Jo-
hann Christian Richter, Dresden, 1762 ; by
Pietro Guglielmi, Naples, 17G7 ; by Fran-
cesco Uttiui, Venice, about 1773 ; by Matteo
Rauzzini, Dublin, 1784 ; by Parenti, Naples,
1788 ; and by Luciano Xavier dos Santos,
Lisbon, 1793 ; and a French opera on the
same subject, Le jardinier de Sidon, in two
acts, text by Renard de Pleinchene, music
by Philidor, first given at the Italiens, Paris,
July 18, 17G8.
RE(iUIE:M, by Berlioz. See J/esse des
Morts.
REQUIEM, in C minor, by Chcrubini,
written for the anniversary of the execution
of Louis XVI. (Jan. 21, 1793), and first per-
formed at the Abbey Church of Saint-
Denis, Pai-is, Jan. 21, 1817. Berlioz con-
sidered this the greatest work of its com-
poser, and especially admired the Agnus Dei.
It is one of the gi-eatest musical expressions
of Itahan Catholicism, and its general tone
is that of deep religious feeling and mourn-
fulness. The Credo for eight voice.s, a
cappella, is a striking example of Cherubini's
mastery of counterpoint. The Requiem was
sung in the same church at the funeral ser-
vice of the due de Berri, Feb. 14, 1820.
It was first performed by the Sacred Har-
monic Society of London, under the direc-
tion of Sir Michael Costa, March 23, 1881.
Full score published by Frey (Paris), and
by Breitkopf & Hiirtel (Leipsic). Cherubini
■wrote also another Requiem, in D minor, for
three male voices (two tenors, and a bass),
first performed at a concert of the Conser-
vatoire, Paris, March 25, 1838, the Dies
irffi having been previously given at the
same place, March 19, 1837. This, Cheru-
bini's last masterpiece, was written in his
seventy-seventh year, and it was sung at his
own obsequies at Saint-Roch in 1842. It is
a more dramatic work than the one in C
minor, and in some respects it is greater.
It was first sung in London as a funeral
service in the Roman Catholic chapel in
Farm Street. Published by Frey (Paris).
— Bellasis, Cherubini, 230, 334 ; 337-347 ;
Grove, iii. Ill ; Monthly Musical Record
(1872), ii. 71 ; AthenfBum (1881), i. 468.
REQUIEM, by Gossec. See Messe des
Morts.
REQUIEM, for chorus, soli, and orches-
tra, by Mozart, written in 1791, and first per-
formed in Jahn's Hall, Vienna, 1796. This,
the composer's last work, was undertaken in
consequence of a visit in July, 1791, from a
mysterious stranger, who brought Mozart a
commission to write a Requiem mass. The
\'isitor was Herr Leutzeb, the steward of
the Count Franz von "Walsegg, who, having
lost his wife, wished to honor her memory
by a funeral mass, which he proposed to
have performed as his own composition.
Owing to the weakness of impaired health,
and worn with overwork, Mozart soon be-
lieved that this strange visitor was a mes-
senger from the other world, and that the
mass was for his own funeral. This ner-
vousness probably hastened his death (Dec.
5, 1791), which occurred before the MS.
was finished. His widow, fearing that she
might be forced to refund the payment
already received for the Requiem, gave the
copy to the Hof-Kapellmeister, Joseph von
Eybler, to complete ; but, after filling in
the instrumentation as far as the Confutatis,
and wi'iting two measures in continuation of
the Lacrymosa, he abandoned the task in
despair. The MS. was then given to Franz
Xaver Siissmayer, an accomplished musi-
cian, intimate with Mozart's methods of
working. Mozart had completed the first
two movements, the Requiem and Kyrie, in
full score, and the Dies irse, excepting the
last verse, was sketched out ; the voice
parts were comj)letely wi'itten with the
S02
EEQITIEM
basso-continuo ; and the instrumental jjarts
where the accompaniment is independent.
The movements of the Offertorium, the
Domine Jesii Christe, and the Hostias were
also partially written. Siissmayer's task
was to fill in the necessary instrume 
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